Entertainment

72nd Cannes Film Festival - Closing ceremony
72nd Cannes Film Festival – Closing ceremony – Cannes, France, May 25, 2019. Director Bong Joon-ho, Palme d’Or award winner for his film “Parasite” (Gisaengchung), reacts. REUTERS/Stephane Mahe

May 25, 2019

By Sarah White

CANNES, France (Reuters) – “Parasite”, a suspenseful dark comedy about class struggles directed by South Korea’s Bong Joon-Ho, won the top Palme d’Or prize at the Cannes Film Festival on Saturday.

The award adds to a successful run at the French cinema showcase for Asian films after Japanese director Hirokazu Kore-eda clinched the prestigious gong last year.

Bong, who made his mark at Cannes in 2017 with Netflix-produced “Okja”, set his latest movie in modern South Korea.

It follows a down-on-their-luck family of four who spot an opportunity to con a wealthy household into giving them jobs.

They worm their way into the other family’s lives – before things start going south.

This year’s Cannes film festival also shone a light on newcomers, in an unusually crowded field.

“Atlantics”, a ghost story about migrants directed by Franco-Senegalese filmmaker Mati Diop, won the runner-up Grand Prix award.

The movie, based on her 2009 short documentary, was Diop’s first feature-length film.

Spain’s Antonio Banderas won the male acting prize for his role as a tortured filmmaker in Pedro Almodovar’s loosely biographical “Pain And Glory” – one of the films that had been tipped for the top honor.

Britain’s Emily Beecham was crowned best actress after starring in Jessica Hausner’s “Little Joe” as a botanist who starts having doubts about her latest genetically-modified creation when it begins to affect her loved ones.

(Reporting by Sarah White, Editing by Inti Landauro)

Source: OANN

72nd Cannes Film Festival - Photocall for the film
FILE PHOTO: 72nd Cannes Film Festival – Photocall for the film “Pain and Glory” (Dolor y Gloria) in competition – Cannes, France, May 18, 2019. Director Pedro Almodovar poses. REUTERS/Jean-Paul Pelissier

May 25, 2019

By Sarah White

CANNES, France (Reuters) – An introspective turn by Spanish director Pedro Almodovar with a movie about an filmmaker, and a darkly humorous South Korean thriller are among the movies sparking awards buzz at Cannes in an unusually crowded field of runners and riders this year.

The film festival’s top Palme d’Or prize will be announced on Saturday evening after the jury headed up by Mexican filmmaker Alejandro Gonzalez Inarritu hash out their picks from the movies vying in the main selection.

“It’s been quite a strong year in all the competitions at Cannes,” said Meredith Taylor, editor of arthouse film site Filmuforia, adding that she had handed out more four-star reviews than usual.

Cannes juries have been known to stump critics, however.

“Quite often an outsider comes in,” Taylor said.

French director Celine Sciamma has also earned glowing praise for period love story “Portrait Of A Lady On Fire”, while first time director Ladj Ly of France impressed with the politically charged “Les Miserables”, a tale of police violence.

And as well as Almodovar’s “Pain And Glory”, the festival was not short of other strong entries from Cannes darlings, including two-time Palme d’Or winner Ken Loach with a searing swipe at Britain’s gig economy in “I’m Sorry We Missed You.”

Almodovar’s return with his loosely biographical film starring Antonio Banderas, on top form as a tormented filmmaker looking back at his life, has nonetheless sparked talk of long overdue recognition at Cannes.

The “All About My Mother” director has never won the top prize at the French cinema festival, where he headed up the jury two years ago.

His latest entry has him vying against another Cannes heavy-hitter in the field of filmmakers delving into the world of cinema for inspiration – Quentin Tarantino presented “Once Upon A Time In Hollywood”, his ode to a bygone era in tinseltown.

Its star-studded premiere this week marked one of the high points of the festival, as Tarantino walked the red carpet with Brad Pitt and Leonardo DiCaprio in tow, though despite critical acclaim few have billed it as the one to watch.

Instead, Bong Joon-ho’s “Parasite”, a suspenseful, wickedly funny satire about class struggles has sparked buzz of awards glory for the South Korean director.

Few films out of the 21 selected for Cannes’ main competition hit a bum note with critics – bar one-time award-winner Abdellatif Kechiche, whose three-and-half hour movie with extensive close-ups of a young girls twerking in a nightclub, “Mektoub, My Love: Intermezzo”, was panned by reviewers.

(Reporting by Sarah White; Editing by Angus MacSwan)

Source: OANN

Iraqi actors read their scripts to prepare for a scene of Òthe hotelÓ TV series, which is being filmed and broadcast during the Muslim holy month of Ramadan, in Baghdad
Iraqi actors read their scripts to prepare for a scene of Òthe hotelÓ TV series, which is being filmed and broadcast during the Muslim holy month of Ramadan, in Baghdad, Iraq May 12, 2019. Picture taken May 12, 2019. REUTERS/Thaier al-Sudani

May 25, 2019

By Bushra Shakhshir

BAGHDAD (Reuters) – On a studio set in Baghdad, a director watches the star of his TV series hold a knife against the neck of a fellow actor, in a dramatic revival of fortunes for Iraq’s entertainment industry.

Filmed in Iraq where the entertainment industry has been battered by conflict, “The Hotel” unfolds in a run-down hostel owned by a novelist who records the lives of his guests as they struggle against violence or become caught up in romance.

Made on a small budget, the series of daily shows has been airing during the Muslim holy month of Ramadan, when families and friends across the Middle East often gather around televisions after breaking the day’s fast with an evening meal.

The series tackles sensitive issues of prostitution, drug use and human trafficking, topics that drew censure from some lawmakers and members of the public in the religiously conservative country.

As a result, some racier scenes have been cut.

But Ali Jaafar al-Saadi, one of the show’s producers, makes no apology for the subject matter. “Art in my opinion never solves issues, but it sheds light on certain problems in society,” he told Reuters.

Those behind the production see it as part of a slow recovery of Iraq’s film and entertainment industry, which crumbled after the 2003 U.S-led invasion and in the years of conflict since then.

Hassan Husni, a former actor who directed the show, said working on the series fulfilled a dream. “People were eagerly awaiting the return of Iraqi drama. This opens the door,” he said.

Husni left Iraq in 1996 when international sanctions against Saddam Hussein’s government crushed the economy and made it difficult to earn money acting.

“I kept waiting for stability to return to the country,” he said. Meanwhile, he gained experience abroad in Lebanon, Syria and Saudi Arabia, before coming home five months ago.

Saadi said the revival of television production and other cultural activities showed a semblance of calm was returning to Iraq. “Art can only exist in a place with security, a place that is relatively stable,” he said.

The team has still faced hurdles, often having to work with old equipment or teaching crew members new skills.

Many Iraqi actors, cinematographers and directors who also fled have remained abroad. But Saadi said he was “very optimistic” that the entertainment industry would thrive again.

Many Iraqis were happy to see a local production on their TV screens, after years of watching shows imported from Egypt or other Arab states. But some were shocked by scenes that included one depicting a massage or those showing characters gathering in a nightclub, drinking alcohol or taking drugs.

Members of parliament’s culture committee said the show “contradicts the values and norms of Iraqi society”, which led to some nightclub scenes being edited out of future episodes.

“I was surprised and disappointed by this decision,” said screenwriter Hamid al-Maliki in a phone interview. “We’re trying to combat these phenomena, not promote them.”

His comments about the show’s themes were echoed by veteran actor and star of the show, Mahmoud Abu al-Abbas.

“We are trying to address them, not for the sake of distorting the image of Iraqi society, rather to remind audiences that we must look inwards and educate ourselves,” he said.

(Reporting by Bushra Shakhshir; Additional reporting by Maher Nazeh; Editing by John Davison, Raya Jalabi and Edmund Blair)

Source: OANN

72nd Cannes Film Festival - News conference for the film
FILE PHOTO: 72nd Cannes Film Festival – News conference for the film “Once Upon a Time in Hollywood” in competition – Cannes, France, May 22, 2019. Director Quentin Tarantino attends the news conference. REUTERS/Regis Duvignau

May 24, 2019

By Phyllis Xu and Fedja Grulovic

CANNES, France (Reuters) – Twenty-five years after taking the festival by storm with “Pulp Fiction”, Quentin Tarantino’s latest movie has already clinched an award at Cannes – thanks to a dog in a show-stealing fight scene.

“Brandy”, which was actually played by three different pitbulls, won the unofficial “Palm Dog” prize at the cinema showcase on Friday.

“I have to say I am so honored to have this,” Tarantino told the light-hearted ceremony to pick up the collar handed out to winners.

“I would like to dedicate this to my wonderful actress Brandy,” he added, drawing laughs from the crowd at the award that is made every year at the festival.

Tarantino said one of the dogs that took part in the fight scene was initially his favorite among the canine cast, but he said he had later been drawn to the expressive face of another of the pitbulls during the editing process.

The U.S. filmmaker said he would keep the award even though he does not have a dog, adding that he might get one some day but it would likely come from a rescue center if he did.

Tarantino said of the Palm Dog: “It will go on my mantelpiece, alright, my mantelpiece of honor.”

Set in the late 1960s, “Once Upon A Time In Hollywood” stars Leonardo DiCaprio as Rick Dalton, an actor struggling to come to terms with his fading career, and Brad Pitt as Cliff Booth, his stunt double.

Booth keeps a pitbull, with which he has one-on-one scenes, including comedy moments that include preparing an unappetising-looking dinner for his pet and training the dog to respond to commands.

The dog makes a comeback in the film’s final sequence. Tarantino has pleaded with critics who viewed the movie at Cannes not to reveal any major spoilers.

Tarantino won the top Palme d’Or film award at Cannes in 1994. He is vying against veteran directors including Ken Loach and Pedro Almodovar for this year’s prize, set to be announced on May 25.

(Writing by Sarah White; Editing by Edmund Blair)

Source: OANN

FILE PHOTO: Spice Girls members arrive for the premiere of the musical
FILE PHOTO: Spice Girl members Melanie Brown (L-R), Geri Halliwell, Emma Bunton and Melanie Chisholm arrive for the premiere of the musical “Viva Forever!”, based on the music of the Spice Girls, in central London December 11, 2012. REUTERS/Toby Melville/File Photo

May 24, 2019

DUBLIN (Reuters) – Fans from near and far got what they really really really wanted on Friday night when the ultimate 1990s girl band, the Spice Girls, opened their long awaited reunion tour at last in Dublin.

“We have been fans for 20 years at least…but we have only been to see impersonators. This is our first time with the real live Spice Girls,” said Erica Rozario, 32, from Toronto, in Baby Spice-esque pigtails and a Scary Spice leopard-skin top.

“Are we excited? We’re off the scale!”

The British pop group, which shot to global fame telling you what they “really really want” in their bouncy debut single “Wannabe” in 1996, announced their reunion tour last year.

Melanie Brown (Scary Spice), Geri Horner (Ginger Spice), Melanie Chisholm (Sporty Spice) and Emma Bunton (Baby Spice) will play 13 dates over the next few weeks, starting with Dublin on Friday before performing in cities around Britain.

The fifth member, Victoria Beckham, now a successful fashion designer and part of a global celebrity family brand with soccer-player husband David, is not joining them but wished “good luck to the girls” on Instagram on Friday.

“TODAY IS THE DAY!” the band wrote on their Twitter page, with a poster for the “Spice World” tour showing most gigs, including Friday’s and the last three in London, as sold-out.

Fans, many dressed in the girls’ signature outfits, swarmed around Croke Park, Ireland’s largest stadium.

“It’s 21 years in the making. I saw them on TV in 1998 and cried because I couldn’t go,” said 32-year old fan Aisling Leahy. Her brother Emmet, 27, said he was devastated his “idol” Posh was not performing.

But Mandy Phelan, 23, who was walking to the stadium in a short Union Jack dress and orange platform boots, was less fussed: “We’re not mad on Posh, to be honest. If they were missing Baby or Ginger that would be a problem,” she said.

She added: “It’ll be 90s nostalgic great.”

The 13-date tour is the latest reunion for the band which broke up in 2000. They reunited for a tour in 2007-2008 and also performed at the closing ceremony for the 2012 London Olympics.

Earlier this week, Brown told fans she had suffered a health scare from inflamed eyes. Sharing a picture of a bandaged eye, she said she now had to get “a very cool Scary eye patch”.

“I can’t tell you how excited I am about getting this tour on the road!” Bunton wrote on Instagram on Thursday beside a picture of herself at Dublin’s Croke Park stadium.

(Reporting by Marie-Louise Gumuchian in London and Conor Humphries in Dublin; Editing by Peter Graff)

Source: OANN

72nd Cannes Film Festival - Photocall for the film
72nd Cannes Film Festival – Photocall for the film “Mektoub My Love: Intermezzo” in competition – Cannes, France, May 24, 2019. Cast members Marie Bernard, Lou Luttiau, Hafsia Herzi, Salim Kechiouche and Shain Boumedine pose. REUTERS/Regis Duvignau

May 24, 2019

(Editor’s note: Graphic content in paragrah 8)

By Sarah White

CANNES, France (Reuters) – A three-and-a-half hour, largely plotless movie set in a nightclub, featuring girls twerking from every angle and a 13-minute explicit sex scene in the toilet, claimed the dubious honour as the most universally panned film at Cannes on Friday.

Filmmaker Abdellatif Kechiche is no stranger to controversy, with his previous outings – including “Blue Is The Warmest Colour”, which won the cinema festival’s top Palme d’Or prize in 2013 – also featuring long, graphic sex scenes.

But his latest movie, “Mektoub, My Love: Intermezzo”, left viewers up in arms after its late-night premiere on Thursday.

Critics lambasted its obsession with the jiggling bottoms that appear time and time again as its young, hotpant-clad female stars dance for almost three hours of the running time in a nightclub.

Kechiche shrugged off the criticism on Friday, saying he was not bothered that some people had walked out of the screening. “If you try something new, a new experience, not everyone is going to be open to that,” he told a news conference.

A follow-up to 2017’s “Mektoub, My Love: Canto Uno”, the new film follows a group of friends in the south of France hanging out and partying. The camera lingers on the bikini-clad women as they frolic on the beach before the action shifts to the nightclub and its thumping ABBA-laden soundtrack.

Los Angeles Times critic Justin Chang described the movie as “the work of an embattled, controversy-seeking filmmaker who has decided to troll his audience”.

The twerking is only broken by a few asides as the friends buy each other drinks, before a long cunnilingus scene.

“What happens here is nothing more than gratuitous porn,” the Hollywood Reporter’s Boyd van Hoeij wrote.

PUSHING THE BOUNDARIES

Kechiche said his film, which takes place almost in real time, was an attempt to shake up conventions of story-telling in the cinema, as well as a celebration of “life, love, desire, music, the body.”

“There is something mysterious about the body, something fascinating which transports us to another place.”

Actress Ophelie Bau and actor Romeo De Latour, who took part in the explicit toilet scene, were not present at the news conference.

When the rest of the cast was asked what it was like working with Kechiche, the director said:

“I have experienced too many unhealthy things with the question of, ‘What’s working with Kechiche like? Is he nice? Is he nasty?’ So I asked the actors, so they don’t have to say that I am nice, to say nothing at all.”

Other actors have spoken of Kechiche’s controlling, demanding work ethos, including Lea Seydoux, one of the stars of “Blue Is The Warmest Colour” who has since gone on to appear in Bond movies.

Seydoux, in Cannes for another movie, told Reuters on Friday that working with Kechiche had been a special experience as a young actress, but said she would not work with him again.

“It’s too intense,” Seydoux said in an interview. “You have to give yourself, body and soul, when you do an Abdellatif Kechiche film, and today I have a life, I have a kid.”

(Additional reporting by Sarah Mills Editing by Marie-Louise Gumuchian and Mark Heinrich)

Source: OANN

FILE PHOTO: Film producer Harvey Weinstein departs from a court hearing in New York
FILE PHOTO: Film producer Harvey Weinstein departs from a court hearing in New York, New York, U.S., April 26, 2019. REUTERS/Carlo Allegri/File Photo

May 24, 2019

(Reuters) – Harvey Weinstein, women who accused him of sexual misconduct, his former film studio’s board members and the New York attorney general’s office have reached a tentative $44 million deal to resolve lawsuits and compensate alleged victims of the Hollywood producer, the Wall Street Journal reported on Thursday, citing people it said were familiar with the matter.

The deal, if finalized, would resolve a civil rights lawsuit filed by the New York attorney general’s office last year that accuses Weinstein Co’s executives and board of failing to protect employees from a hostile work environment and Weinstein’s sexual misconduct, the Journal reported.

The Journal said the proposed agreement would not affect a criminal case pending against Weinstein in Manhattan, in which he has been charged with rape and other sex crimes. A trial in that case has been scheduled for September.

A representative for Harvey Weinstein and Weinstein Co did not immediately respond to request for comment. Weinstein has previously denied having non-consensual sex with anyone.

Weinstein, who won plaudits and awards through his company and another studio, Miramax, for movies including “Shakespeare in Love,” “Pulp Fiction” and “The King’s Speech, fell from grace after more than 70 women, mostly young actresses and others in the movie business, accused him of sexual misconduct dating back decades.

As the accusations against Weinstein mounted, his company Weinstein Co fired him and filed for bankruptcy, and he was expelled from the Academy of Motion Picture Arts and Sciences.

His case helped launch the #MeToo movement, which has led to dozens of powerful men in entertainment, politics and other fields being accused of sexual misconduct.

(Reporting by Rama Venkat in Bengaluru; Editing by Bill Rigby)

Source: OANN

72nd Cannes Film Festival - The amfAR's Cinema Against AIDS 2019 event
72nd Cannes Film Festival – The amfAR’s Cinema Against AIDS 2019 event – Antibes, France, May 23, 2019. Dua Lipa poses. REUTERS/Eric Gaillard

May 23, 2019

By Sarah White and Johnny Cotton

CAP D’ANTIBES, France (Reuters) – From Pamela Anderson to Dua Lipa, the great and good of the movie and music world mingled at the Cannes Film Festival’s most glamorous fixture on Thursday night, a fundraiser for AIDS research where stars including Mariah Carey were set to perform.

Reality TV star and model Kendall Jenner, actors Antonio Banderas and Andie MacDowell, and designer Tommy Hilfiger were among guests at the swanky AmfAR dinner on the French Riviera, put on by the U.S.-based Foundation for AIDS Research.

Attendees and AmfAR representatives said this year’s event, also set to feature a performance by crooner Tom Jones, was particularly poignant, following medical breakthroughs in trying to find a cure for AIDS.

An HIV-positive man in Britain became the second known adult worldwide to be cleared of the AIDS virus after he received a bone marrow transplant from an HIV-resistant donor, his doctors said in March.

“As optimistic as we are going forward, this disease is nowhere near finishing,” AmfAR board Chairman William Roedy told journalists ahead of the party on the grounds of the Hotel du Cap-Eden-Roc, an exclusive hotel on the Cap d’Antibes, which juts out into the Mediterranean along the coast from Cannes.

“We have to keep our foot on the pedal,” he said.

Australian actress Rebel Wilson presented one of the items on auction at the event, a marble Mickey Mouse statue, which sold for 450,000 euros ($503,235) after bids started at 50,000 euros.

A stay on a private island off Tanzania went for 100,000 euros.

A painting by Andy Warhol, a motorbike and a collection of designer dresses were also up for auction, as well as a stay in London that included a chance to meet Prince Charles and participate in events linked to his charitable foundation.

Movie mogul Harvey Weinstein used to be a staple of the AmfAR event in Cannes. Last year’s dinner was the first in his absence after he was embroiled in a scandal when more than 70 women accused him of sexual misconduct.

($1 = 0.8942 euros)

(Reporting by Sarah White and Johnny Cotton; Editing by Lisa Shumaker)

Source: OANN

72nd Cannes Film Festival - Photocall for the film
72nd Cannes Film Festival – Photocall for the film “Matthias & Maxime” (Matthias et Maxime) in competition – Cannes, France, May 23, 2019. Director Xavier Dolan poses. REUTERS/Jean-Paul Pelissier

May 23, 2019

By Johnny Cotton and Sarah White

PARIS (Reuters) – At the ripe old age of 30, Canadian filmmaker Xavier Dolan is already a Cannes veteran after bursting onto the scene at the festival 10 years ago.

This time he is vying for the top Palme D’Or prize award with “Matthias And Maxime”, a tale of friendship, love and coming of age – which drew a broadly warm response after the ups and some downs of his recent outings.

“I’m coming to the end of a decade spent here at the Cannes festival with all sorts of emotions — victories, disappointments, rejection, triumphs, encounters,” Dolan told a news conference on Thursday after his latest movie was screened at the festival.

“It’s changed me. With each film you make new mistakes, you learn, you try not to make them again, you make new ones.”

All but two of the eight films directed by Dolan have been screened in Cannes, starting with “I killed my mother” in 2009 which won the then 20-year-old a standing ovation, three prizes and a reputation as a prodigy.

“It’s Only the End of the World” and “Mommy” also won awards, though some others disappointed.

Dolan has never bagged the Palme d’Or, and is this year up against industry heavyweights such as Spain’s Pedro Almodovar, as well as contenders tipped for glory like South Korea’s Bong Joon-ho, whose dark comedy “Parasite” wowed critics.

Dolan’s new movie, in which he plays one of the lead roles, centers on a pair of childhood friends whose relationship is turned upside down when they share a kiss during a college cinema project.

“Dolan’s bittersweet study of male friendship … finds him on restrained, charming form,” Variety said in its review.

Set in Montreal, it is full of scenes of zingy dialogue and touching moments between their group of buddies, as they get drunk, play cards, taunt each and fight – a personal tale in more ways than one, as many of the cast are Dolan’s friends.

“This film… was an opportunity artistically to try something new, to try and explore another part of myself,” he said. “This time I’ve had the opportunity to share it (in Cannes) with the people I love.”

(Reporting by Sarah White and Johnny Cotton, Editing by William Maclean)

Source: OANN

FILE PHOTO: European premiere of Ocean's 8
FILE PHOTO: Cast member Rihanna poses for pictures as she arrives for the European premiere of Ocean’s 8 in London, Britain June 13, 2018. REUTERS/Simon Dawson/File Photo

May 23, 2019

By Pascale Denis

PARIS (Reuters) – Barbadian singer Rihanna has unveiled her new fashion brand with Louis Vuitton owner LVMH, a rare move by the French group to set up a label from scratch as it taps into soaring demand for celebrity collaborations in the luxury world.

Fenty – after the “Umbrella” hitmaker’s full name, Robyn Rihanna Fenty – will build on the singer’s existing joint venture in cosmetics with LVMH, with a full range of clothing, shoes and accessories.

“My fashion will be different and non-traditional, because I do not come from this industry,” the singer told a news conference Wednesday evening, saying she hoped to bring a “new vision of fashion”.

Presented in a store in Paris’ trendy Marais district, the clothes offer structured lines, white or beige jackets with wide shoulders or blazer dresses wrapping the body.

The collection is also for men with large denim jackets and parka coats.

The French group has increasingly exploited collaborations with celebrities as well as streetwear designers to attract young customers of luxury goods.

But most ventures of the sort have been restricted to limited editions, and LVMH is looking to steal a march on peers by taking its pairing with 31-year-old Rihanna to another level.

It will be able to rely on Rihanna’s social media credentials – the singer has amassed 70.5 million followers under her Instagram handle “badgalriri”.

Known for her bold fashion statements at red carpet events, Rihanna is followed almost as much for her style as her music, and had already worked with other labels including sportswear brand Puma on collections under the Fenty name.

In contrast to other LVMH brands, Fenty products will be sold at significantly lower prices.    

Prices range from 600 euros ($669.18) to 800 euros for a dress, 500 euros for sandals and 300 euros for costume jewelery.

The brand will be essentially an e-commerce-only venture, supported with temporary “pop-up” events rather than a store network.

The first “pop-up” store, Paris, will open on Friday for two weeks and the website on May 29. The brand will first be available in 14 countries, in Europe and the United States, and will open in Asia by year-end.

(Writing by John Irish; Editing by Cynthia Osterman)

Source: OANN

FILE PHOTO: European premiere of Ocean's 8
FILE PHOTO: Cast member Rihanna poses for pictures as she arrives for the European premiere of Ocean’s 8 in London, Britain June 13, 2018. REUTERS/Simon Dawson/File Photo

May 23, 2019

By Pascale Denis

PARIS (Reuters) – Barbadian singer Rihanna has unveiled her new fashion brand with Louis Vuitton owner LVMH, a rare move by the French group to set up a label from scratch as it taps into soaring demand for celebrity collaborations in the luxury world.

Fenty – after the “Umbrella” hitmaker’s full name, Robyn Rihanna Fenty – will build on the singer’s existing joint venture in cosmetics with LVMH, with a full range of clothing, shoes and accessories.

“My fashion will be different and non-traditional, because I do not come from this industry,” the singer told a news conference Wednesday evening, saying she hoped to bring a “new vision of fashion”.

Presented in a store in Paris’ trendy Marais district, the clothes offer structured lines, white or beige jackets with wide shoulders or blazer dresses wrapping the body.

The collection is also for men with large denim jackets and parka coats.

The French group has increasingly exploited collaborations with celebrities as well as streetwear designers to attract young customers of luxury goods.

But most ventures of the sort have been restricted to limited editions, and LVMH is looking to steal a march on peers by taking its pairing with 31-year-old Rihanna to another level.

It will be able to rely on Rihanna’s social media credentials – the singer has amassed 70.5 million followers under her Instagram handle “badgalriri”.

Known for her bold fashion statements at red carpet events, Rihanna is followed almost as much for her style as her music, and had already worked with other labels including sportswear brand Puma on collections under the Fenty name.

In contrast to other LVMH brands, Fenty products will be sold at significantly lower prices.    

Prices range from 600 euros ($669.18) to 800 euros for a dress, 500 euros for sandals and 300 euros for costume jewelery.

The brand will be essentially an e-commerce-only venture, supported with temporary “pop-up” events rather than a store network.

The first “pop-up” store, Paris, will open on Friday for two weeks and the website on May 29. The brand will first be available in 14 countries, in Europe and the United States, and will open in Asia by year-end.

(Writing by John Irish; Editing by Cynthia Osterman)

Source: OANN

Actor Daniel Craig poses for a picture during a photocall for the British spy franchise's 25th film set for release next year, titled
Actor Daniel Craig poses for a picture during a photocall for the British spy franchise’s 25th film set for release next year, titled “Bond 25” in Oracabessa, Jamaica April 25, 2019. REUTERS/Gilbert Bellamy

May 22, 2019

LOS ANGELES (Reuters) – James Bond actor Daniel Craig will undergo ankle surgery after injuring himself while filming the spy franchise’s latest installment, but the movie remains on schedule for an April 2020 release, producers said on Wednesday.

A posting on the official James Bond Twitter account said the surgery was minor and that Craig hurt himself while shooting in Jamaica.

“Production will continue whilst Craig is rehabilitating for two weeks post-surgery. The film remains on track for the same release date in April 2020,” the tweet said.

The still untitled movie, known by the working title “Bond 25,” will be Craig’s fifth go-around as Britain’s most famous fictional secret agent.

British media reported that Craig, 51, slipped and hurt himself on set last week while filming an action sequence.

The MGM spy franchise is one of the movie world’s most lucrative with 2015’s “Spectre,” directed by Sam Mendes, raking in $880 million at the box office worldwide, while “Skyfall” in 2012, also directed by Mendes, grossed more than $1 billion globally.

Bond 25 is being directed by American Cary Joji Fukunaga.

(Reporting by Lisa Richwine; Editing by Sandra Maler)

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72nd Cannes Film Festival - Screening of the film
72nd Cannes Film Festival – Screening of the film “Once Upon a Time in Hollywood” in competition – Red Carpet Arrivals – Cannes, France, May 21, 2019. Director Quentin Tarantino and cast members Brad Pitt, Leonardo DiCaprio and Margot Robbie arrive. REUTERS/Eric Gaillard

May 21, 2019

By Sarah White and Johnny Cotton

CANNES, France (Reuters) – With Hollywood stars Leonardo DiCaprio and Brad Pitt in tow, Quentin Tarantino unveiled his latest opus in Cannes on Tuesday, a story about movie magic and acting pains that wowed many critics – at least in parts.

Set in the late 1960s, when spaghetti westerns ruled the screen, “Once Upon A Time in Hollywood” was one of the most hotly anticipated premieres at the film showcase – not least because it only made it to the competition at the last minute.

Tarantino, a Cannes darling, won the festival’s top Palme D’Or prize for “Pulp Fiction” 25 years ago, and his latest offering is not short of big names, with Australian actress Margot Robbie and Al Pacino also in the line-up.

Centered on Ricky Dalton, a TV actor wracked by self-doubt played by DiCaprio, the film is a love letter to the world of cinema, from its glamorous parties to the highs and lows of being on set.

Dalton and stunt double Cliff Booth, played by Pitt, roam the studios of Hollywood, pondering their careers and getting into scraps, running into hippies and martial arts stars.

Ominously, however, it also takes place in the run-up to the notorious Mason murders – the gruesome killings orchestrated by cult leader Charles Manson, which claimed the life of pregnant actress Sharon Tate, married at the time to filmmaker Roman Polanski.

The film’s evocative atmosphere, flashes of violence that Tarantino is known for, and darkly comic moments elicited some early rave reviews following the premiere.

“It’s shocking, gripping, dazzlingly shot,” The Guardian’s Peter Bradshaw wrote, giving it five stars.

The finale was “entirely outrageous, disorientating, irresponsible, and also brilliant,” Bradshaw added.

In a message sent out on social media by the movie’s promoters ahead of the premiere, Tarantino asked the media and those at the premiere not to ruin the film, his ninth, with any spoilers.

“The cast and crew have worked hard to create something original,” the director said. “I only ask that everyone avoids revealing anything that would prevent later audiences from experiencing the film in the same way.”

Some critics highlighted the movie’s patchier, more self-indulgent moments, but they still found enough to like in show-stealing scenes and strong performances by DiCaprio and Pitt in particular.

Entertainment site TheWrap called it “big, brash, ridiculous, too long, and in the end invigorating.”

“It’s fun but … it’s too long for a small story in fact,” Joachim Lepastier, a journalist from France’s Cahiers Du Cinema, told Reuters after leaving a screening.

Tarantino, who arrived on the French Riviera last week and has been spotted at several screenings and premieres, hit the red carpet on Tuesday alongside his wife, Israeli singer and model Daniela Pick, who also has a role in the film.

DiCaprio, Pitt and Robbie also put in star turns on the Croisette at the glitzy premiere.

The Cannes Film Festival runs until May 25. Tarantino is vying for the top award alongside veteran filmmakers like Britain’s Ken Loach or Spain’s Pedro Almodovar, and newer ones including French promise Celine Sciamma.

(Reporting by Sarah White and Johnny Cotton; Editing by Frances Kerry and Richard Chang)

Source: OANN

The premiere of Disney's live-action 'Aladdin' in London
Cast member Will Smith attends the premiere of Disney’s live-action ‘Aladdin’ in London, Britain May 9, 2019. REUTERS/Henry Nicholls

May 21, 2019

By Rollo Ross

LOS ANGELES (Reuters) – Will Smith was initially worried about playing the genie in Disney’s live action version of “Aladdin” after the celebrated performance by the late Robin Williams more than 25 years ago, but says it eventually became a joy.

“What Robin Williams did with this character – he just didn’t leave a lot of room to add to the genie. So I started off fearful but then when I got with the music, it just started waking up that fun, childlike, silly part of me,” Smith said.

“This was the most joyful experience of my career,” the actor, 50, said ahead of the film’s release worldwide this week.

“Aladdin,” directed by Guy Ritchie, marks Smith’s first time doing a Walt Disney Co film. The remake features many of the elements of the 1992 animated original, for which Williams won a Golden Globe for his voice work.

“I like the original movie so I’m aware I don’t want to contaminate the nostalgia of the first one,” said Ritchie. “What you want to do is embellish.”

“My principal job was to entertain my five kids and my Disneyphile of a wife,” said Ritchie, who is better known for action adventure movies like “Sherlock Holmes” and adult crime caper “RocknRolla.”

Naomi Scott who appeared in “The 33” and “Power Rangers” plays Princess Jasmine. Mena Massoud, who appeared in last year’s “Tom Clancy’s Jack Ryan” series, plays the title role in the movie.

“Aladdin” is the latest Disney remake of its animated family film classics. It follows a live action version of flying elephant tale “Dumbo” in March, the upcoming July reboot of “The Lion King,” and “Mulan” due for release in 2020.

(Reporting by Reuters Television; Editing by Lisa Shumaker)

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Chef Jamie Oliver poses during a photocall at the annual MIPCOM television programme market in Cannes
Chef Jamie Oliver poses during a photocall at the annual MIPCOM television programme market in Cannes, France, October 15, 2018. REUTERS/Eric Gaillard

May 21, 2019

LONDON (Reuters) – British celebrity chef Jamie Oliver’s restaurant chain will enter administration on Tuesday, a source familiar with the situation said, threatening jobs at the firm’s 25 sites in the United Kingdom.

The source said that more than 1,000 jobs would be put at risk by the administration, a form of protection from creditors, which is expected to be announced later on Tuesday.

Oliver founded his Jamie’s Italian brand of high street restaurant in 2008. His restaurant group also includes Barbecoa, a steakhouse, and Jamie Oliver’s Diner.

Oliver is famed for his “Naked Chef” books and TV shows, which were broadcast in dozens of countries, as well as his campaigning over healthier school meals.

Oliver’s restaurant chain is the latest victim of a rough trading environment on Britain’s high streets.

In March, Boparan Restaurant Group (BRG) said it planned to close more than a third of its Giraffe and Ed’s Easy Diner outlets, while Carluccio’s, Prezzo, Strada and Gourmet Burger Kitchen closed branches in 2018.

(Reporting by Alistair Smout; editing by Michael Holden)

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72nd Cannes Film Festival - News conference for the film
72nd Cannes Film Festival – News conference for the film “Rocketman” Out of Competition – Cannes, France, May 17, 2019. Cast member Taron Egerton poses for pictures. REUTERS/Stephane Mahe

May 21, 2019

By Sarah White and Johnny Cotton

CANNES, France (Reuters) – Actor Taron Egerton said on Friday he’d developed a close friendship with Elton John while preparing for the biopic “Rocketman”, adding to the emotion after a glittering premiere where few of its stellar attendees were left dried-eyed.

The musical spectacular, which features one Elton John hit after another as it tracks the highs and lows of his journey to superstardom, made its debut at the Cannes Film Festival on Thursday, with the singer in tow on the red carpet.

Egerton said he was already an avowed fan of the singer – even auditioning to get into drama school by singing “Your Song” – and had gotten to know John well during filming, making it “borderline overwhelming” to step into his shoes on-screen.

“I’m very proud to call him a friend. He is the kindest, most interesting, warm man. That has made it feel very important to me,” Egerton told a news conference on the French Riviera, choking up at moments.

The British actor, also known for his role in spy comedy “Kingsman”, said he had delved into Elton John’s repertoire to prepare.

“You immerse yourself in his music. The invaluable thing was .. I was able to spend a lot of time with him and talk about anything,” he added.

The movie, which is not competing for awards at the cinema showcase, veers into traditional Hollywood musical territory. It mixes in elements of fantasy, as the hitmaker floats above the stage during a frenetic concert or descends into a drugged-fueled haze surrounded by a writhing dance troupe.

“The response has been so wonderful … you made a young man from Aberystwyth incredibly happy and a 72 year-old rockstar even more happy,” Egerton said, fresh from performing “Rocketman” the night before alongside Elton John at a glitzy afterparty.

DARK CORNERS

Directed by Dexter Fletcher – who contributed to making Freddie Mercury biopic “Bohemian Rhapsody” – the movie has so far drawn mixed reviews, with some critics questioning its sugary edges while praising the energy of the musical numbers.

“Fletcher has fashioned an ebullient monument to pop superstar Elton John that’s cliched in the telling, but gets by on the strength of his early catalog,” Variety critic Peter Debruge wrote.

The film was about John’s “lust for life”, Fletcher told the news conference, adding that it was not meant to show the singer as perfect.

“There was no dark corner where he didn’t want us to shine a light,” Fletcher said.

“Rocketman” also stars Jamie Bell as lyricist Bernie Taupin, and Richard Madden as the singer’s former lover and manager John Reid.

Madden, who has been talked up as a contender to play James Bond when Daniel Craig takes a step back from the franchise, brushed off the rumors on Friday – fueled by his dapper red carpet appearance the night before in a white tuxedo.

“It’s very flattering to be involved in that conversation. It’s all just talk,” Madden said. “I’m sure next week it will be someone else.”

(Reporting by Sarah White and Johnny Cotton; Editing by Hugh Lawson)

Source: OANN

FILE PHOTO: Ascenso MX Final - Second Leg - Atletico San Luis v Dorados
FILE PHOTO: Soccer Football – Ascenso MX Final – Second Leg – Atletico San Luis v Dorados, Alfonso Lastras Stadium, San Luis Potosi, Mexico – May 5, 2019 Dorados coach Diego Armando Maradona before the match REUTERS/Henry Romero

May 20, 2019

BUENOS AIRES (Reuters) – Diego Maradona greeted a new film about his life with scorn on Monday, telling people not to see it when it is released next month.

Posters for the two-hour documentary about the controversial Argentine forward say ‘Diego Maradona: Rebel. Hero. Hustler. God.’ with the World Cup winner upset at the use of “hustler”.

“I played football and I made money running after a ball. I didn’t hustle anyone,” he told Univision in an interview.

“If they are putting that there to get people to go and see it then I think they are going about it the wrong way.

“I don’t like the title, and if I don’t like the title I am not going to like the film. Don’t go and see it.”

Director Asif Kapadia, who made the award-winning documentaries “Amy” and “Senna”, had earlier said Maradona had not seen the film and admitted he was interested how the player would react to viewing the finished article.

“We are dealing with archive from way back, there will be lots of images that he himself hasn’t seen of himself, of his family, of his kids,” Kapadia told Reuters in an interview.

“So I think it’s going to be quite emotional for him.”

Maradona, who is now coaching in Mexico, missed the film’s premier at Cannes on Sunday.

Initial reviews were mixed with critics saying the film, which draws on Maradona’s personal stock of video, showed colorful scenes but pulled its punches.

“No matter how many newsreels it shows us or how arresting they are, all that grainy reality can’t add up to revealing what’s inside the man at its center,” said Variety.

The film is due for general release on June 14.

(Reporting by Andrew Downie, additional reporting by Hanna Rantala; Editing by Greg Stutchbury)

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72nd Cannes Film Festival - Photocall for the film
72nd Cannes Film Festival – Photocall for the film “Portrait of a Lady on Fire” (Portrait de la jeune fille en feu) in competition – Cannes, France, May 20, 2019. Director Celine Sciamma and cast members Luana Bajrami, Noemie Merlant, Adele Haenel and Valeria Golino. REUTERS/Stephane Mahe

May 20, 2019

By Johnny Cotton

CANNES, France (Reuters) – “Portrait of a Lady on Fire”, a tender story of an 18th century painter who falls in love with her muse, has set Cannes ablaze, training the film festival’s gaze on the work of women artists as the movie industry grapples with issues of gender equality.

By director Celine Sciamma, the romance, widely praised by critics after its premiere on Sunday, is one of only four films competing for the Palme d’Or at this year’s festival that is directed by a woman, out of 21 entrants.

It tells the story of an artist hired to paint the wedding portrait of a young aristocrat who is reluctant to be married off to a man she has never met. She refuses to sit for it, forcing the painter to pose as a companion and study her surreptitiously whilst working in secret.

The film has an all-female cast headed up by Adele Haenel and Noemie Merlant, who told a news conference on Monday that behind the corsets and the candlelight, the film has a particular resonance today.

“It’s a very contemporary, very modern story, to find out what sort of an artist we are as women, learning to have confidence in ourselves, to listen to ourselves, to be curious,” Merlant said.

The film marks a return to the Croisette for Sciamma, whose first film “Water Lilies” was screened at the festival in the secondary “Un Certain Regard” category in 2007.

She walked the red carpet on Sunday wearing a brooch with 50/50 on it, and was one of the first signatories of the 50/50 by 2020 charter calling for equal representation among festival management.

The film also tackles the highly-charged issue of abortion as debates rage from Alabama to Argentina.

“Obviously there’s a political dimension as in any film, and I am upfront about it, but the film isn’t a political tract,” Sciamma told the news conference.

Her new film drew warm praise from critics.

“Sciamma is practically throwing off sparks and hot coals as she enters a confident, bigger-risk-taking phase of her career,” the Hollywood Reporter’s Leslie Felperin wrote.

(Editing by Sarah White and Frances Kerry)

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Fans watch the final episode of Game of Thrones at a watch party in the Manhattan borough of New York
Fans watch the final episode of Game of Thrones at a watch party in the Manhattan borough of New York City, U.S., May 19, 2019. REUTERS/Caitlin Ochs

May 20, 2019

LOS ANGELES (Reuters) – Mixed reviews, a stray water bottle and pleas for a spinoff for feisty teen assassin Arya Stark marked the end of “Game of Thrones,” which came to a close on Sunday with one more shocking demise and an unlikely character named as king.

The 80-minute series finale of HBO’s medieval fantasy series proved as divisive as Season 8 itself, with the hard fought Iron Throne burned to the ground and the saga ending in what some called an anti-climax.

USA Today’s Kelly Lawler called the finale “a disaster ending that fans didn’t deserve,” adding that it was “hacky; it was cliched.”

Britain’s Radio Times was kinder, with blogger Huw Fullerton writing there were “some bits I liked, one or two I loved, an awful lot that leaves me scratching my head. But I will say, it ended better than I expected given the last two episodes.”

According to review aggregator Rotten Tomatoes, the finale got 59 % approval from television critics, compared with 92 % for the Season 8 premiere on April 14.

Television series creators David Benioff and D.B. Weiss were silent on Monday. The executive producers had said they planned to go offline when the finale aired.

“We’ll be in an undisclosed location, turning off our phones and opening various bottles,” Weiss told Entertainment Weekly earlier this year.

Many fans were more upset about the series coming to an end after eight seasons.

“I thought it would be more of a dramatic ending,” healthcare worker Christine Lethune told Reuters at a viewing party in New York. “I’m mad, I’m mad that this is the last episode. I wish that there was more after this.”

Eagle eyed fans spotted another modern prop that made its way on camera.

On Sunday. it was a plastic water bottle seen partly hidden behind the boot of character Samwell Tarly. The sighting followed dismay and jokes over the sighting of a stray paper coffee cup glimpsed during episode 4, aired two weeks ago.

HBO last year ordered a prequel, co-written by author George R.R. Martin, that is set thousands of years before the events of “Game of Thrones.”

But on Monday, many fans wanted a sequel based around Arya Stark (Maisie Williams), who is last seen aboard a ship to explore lands unknown.

“Arya was the only good part of Season 8. Give us the spinoff,” tweeted Riley McAtee, an associate editor at sports and pop culture website The Ringer.com

(Reporting by Jill Serjeant; editing by Diane Craft)

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The Iron Throne is seen on the set of the television series Game of Thrones in the Titanic Quarter of Belfast, Northern Ireland
FILE PHOTO: The Iron Throne is seen on the set of the television series Game of Thrones in the Titanic Quarter of Belfast, Northern Ireland, Picture taken June 24, 2014. REUTERS/Phil Noble

May 20, 2019

(Warning: This story contains spoilers for the final episode of “Game of Thrones.”)

By David Gaffen

(Reuters) – After eight seasons and 73 episodes, HBO’s long-running smash series, “Game of Thrones”, wrapped up on Sunday, with one more shocking demise and an unlikely character named as king.

The last episode of the medieval fantasy based on the novels of George R.R. Martin ran roughly an hour and 20 minutes to conclude the storyline of more than a dozen characters and intertwining plots.

The fierce competition for the fictional Iron Throne – the seat for the show’s ruler, made of hundreds of swords – ended with a death and an unexpected choice to rule the fictional kingdom of Westeros.

The series had become the cornerstone of HBO’s primetime offerings, but its final season was also its most divisive, with both fans and critics finding specific plot twists, particularly the handling of one primary character, troubling.

HBO says the record-breaking final season drew 43 million viewers on average for each episode in the United States alone, an increase of 10 million over Season 7 in 2017.

Most notable in fans’ criticism was the malevolent turn by Emilia Clarke’s Daenerys Targaryen, the “Dragon Queen,” who used her dragon to lay waste to the show’s fictional capital after her enemies had surrendered.

The move angered fans, as the episode, titled “The Bells,” now garners the weakest ratings of all episodes in the eight-season run on Rottentomatoes.com, which aggregates critics’ reviews.

Brutal acts by Clarke’s character in previous seasons were similar to those of other leaders, but many viewers saw the decision to kill tens of thousands of innocent people as too drastic, based on her previous actions.

The final episode features her death at the hands of Jon Snow, her lover (and nephew, among numerous incestuous relationships portrayed), played by Kit Harington, who kills her, fearing her tyranny merely mirrors that of predecessors.

Her last living dragon then burns the Iron Throne, melting it down with his fiery breath.

Without a ruler, numerous members of the show’s noble houses eventually make an unexpected choice of king, settling on Brandon Stark, played by Isaac Hempstead Wright.

In the premiere episode in 2011, Brandon was pushed from a high tower, crippling him, but awakening mystical powers that eventually allowed him to see the past and the future.

Some critics viewed the Sunday episode’s choice as odd, since Stark’s abilities implied he foresaw the events, including the deaths of thousands, that would leave him ruler.

“He’s got the whole history of Westeros stockpiled in his head, so how is he going to be able to concentrate on running a kingdom?” wrote Rebecca Patton on Bustle.com.

From its ragged beginnings – its original pilot was never aired, instead undergoing substantial re-shoots and recasting of several characters – the series became a cultural phenomenon.

Its budgets grew, with the last season’s cost running as high as $15 million per episode, Variety says. It also won numerous primetime television Emmy Awards, including three for “Best Drama.”

It became known for unexpected, nerve-wracking moments, including the first season’s death of Eddard Stark, the nobleman played by Sean Bean, highlighted in a marketing campaign, and Season 3’s “Red Wedding,” a massacre in fictional wars that author Martin based on medieval Scottish history.

HBO, owned by AT&T’s WarnerMedia, is already planning a prequel series, set thousands of years earlier, while creators Dan Weiss and David Benioff are scheduled to make the next series of “Star Wars” films.

(Reporting by David Gaffen; Editing by Michael Perry and Clarence Fernandez)

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72nd Cannes Film Festival - The Kering Women In Motion Honor Awards
72nd Cannes Film Festival – The Kering Women In Motion Honor Awards as part of Cannes Film Festival Presidential dinner – Arrivals – Cannes, France, May 19, 2019. Salma Hayek and Francois-Henri Pinault pose. REUTERS/Regis Duvignau

May 20, 2019

By Sarah White

CANNES, France (Reuters) – Movie stars including Salma Hayek and Eva Longoria celebrated the role of women in cinema at a glitzy gala in Cannes on Sunday, amid a drive to promote gender equality in the industry that is still falling short of what many campaigners hoped for.

Cannes’ film festival, the world’s most important cinema showcase, last year signed a pledge to get an equal number of men and women in its top management by 2020 that is gradually gathering momentum at similar European and U.S. events.

Actors and filmmakers participating in this year’s edition have joined activists in warning that while industry attitudes were changing, progress was still slow.

“We have so much work to do and I just think we can’t let up,” Longoria told journalists at the Women in Motion dinner at Cannes, part of a program set up by luxury group Kering to push for gender equality in cinema.

“Whenever we see something improving we can’t just say ‘Oh OK let’s relax, the momentum’s going to go that way’. It won’t continue to go that way, we have to continue to change the industry for ourselves.”

Chinese actress Gong Li, the star of “Farewell My Concubine”, was awarded a prize for her career at the event.

At Cannes, four women are contending for this year’s top Palme D’Or film prize, including Franco-Senegalese Mati Diop and France’s Celine Sciamma, out of 21 entries – or just under 20 percent of the total.

Elsewhere, the proportion has sometimes been higher, with over 40 percent of the films competing at Berlin’s festival in February made by women.

“We hear a lot about how times are changing and improving, and it’s true. The idea is to support that trend. (But) the figures still don’t look good,” said Delphyne Besse, a film sales specialist and one of the founders of 50/50 by 2020, the collective behind the gender parity pledge signed by Cannes.

Of the 47 film festivals that have so far backed the drive globally, 38 percent have female heads, according to the lobby group’s figures.

SHORT SHRIFT

Industry insiders said the slow progress was reflected in everything from the short shrift female directors still got in the media to their under-representation at industry events.

“Women have been making films for 11 decades now,” British actress and star of zombie movie “The Dead Don’t Die” Tilda Swinton told a news conference earlier this week.

“There are countless films by women. The question is why don’t we know about them,” she said, adding that even obituaries for female filmmakers tended to be dwarfed by those dedicated to men.

Cannes’ organizers have said they were not planning to introduce quotas dictating the gender balance of the films selected to compete at the festival.

“Cannes is only at the end of the chain. This needs to start with encouragement at film schools,” festival director Thierry Fremaux said last week.

The cinema showcase is looking to include more women its board, however, and the festival jury this year was more balanced.

“Atlantics” director Diop said festivals were still a logical starting point to highlight women’s work in the industry.

“It starts with the films, there is no festival without films, so it is an extraordinary exhibition that will give the films much bigger exposure,” she told Reuters in an interview.

(Reporting by Sarah White; Editing by Chris Reese)

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FILE PHOTO: Cast member Keanu Reeves arrives for a screening of the movie
FILE PHOTO: Cast member Keanu Reeves arrives for a screening of the movie “John Wick: Chapter 3 – Parabellum” in Los Angeles, California, U.S. May 15, 2019. REUTERS/Mario Anzuoni/File Photo

May 19, 2019

By Rebecca Rubin

LOS ANGELES (Variety.com) – Earth’s Mightiest Heroes put up a good fight, but John Wick put at end to the three-week box office reign of “Avengers: Endgame.”

Propelled by positive reviews, “John Wick: Chapter 3 – Parabellum” beat expectations with a debut of $57 million from 3,850 North American locations. That was enough to nab the box office crown from “Avengers: Endgame,” Marvel’s latest juggernaut that collected $29.4 million during its fourth weekend of release.

“Parabellum,” the third installment of the action franchise, opened well above its predecessors 2014’s “John Wick” ($14.4 million) and 2017’s “John Wick: Chapter 2” ($30.4 million). In Parabellum, Keanu Reeves returns as the titular ex-hitman who finds himself on the run from assassins. Stuntman-turned-director Chad Stahelski helmed the movie, written by series-creator Derek Kolstad. Halle Berry and Laurence Fisburne also star.

“John Wick 3” was a much-needed win for Lionsgate. The studio suffered a string of flops with its big-budget reboot of “Robin Hood” with Taron Egerton, a “Hellboy” remake, and Liam Neeson thriller “Cold Pursuit.”

“Avengers: Endgame,” which slid to second place on domestic box office charts, has now earned $771 million in North America, passing “Avatar” and its $761 million haul to become the second-highest grossing movie at the domestic box office behind “Star Wars: The Force Awakens” ($937 million). It’s still the No. 2 biggest title worldwide, following just “Avatar” with $2.78 billion.

“John Wick 3” opened alongside Universal and Amblin’s “A Dog’s Journey” and Warner Bros. and MGM’s “The Sun Is Also a Star.”

“A Dog’s Journey” arrived below expectations, launching at No. 4 with $8 million from 3,200 venues. It’s pacing significantly below 2017’s “A Dog’s Purpose,” the original film in the saga about a canine’s adventure to find meaning. That movie debuted with $18 million and went on to earn $64 million at the domestic box office. It became a big hit with international audiences, grossing $140 million overseas.

This weekend’s final new wide release, “The Sun Is Also a Star,” collapsed with a disastrous $2.6 million bow from 2,073 theaters. The YA romance drama, based on Nicola Yoon’s novel, received mixed reviews. It earned a lackluster B- CinemaScore, as well as a 51% on Rotten Tomatoes. “Grown-ish” actress Yara Shahidi stars as a brainy student who forms a relationship with a charming exchange student (“Riverdale’s” Charles Melton), as her family faces deportation.

Ticket sales are have fallen around 10% behind last year, according to Comscore. Hollywood is banking on some big blockbusters, as well as a few surprise hits, to boost revenues during the busy summer movie season.

Source: OANN

Ascenso MX Final - Second Leg - Atletico San Luis v Dorados
Soccer Football – Ascenso MX Final – Second Leg – Atletico San Luis v Dorados, Alfonso Lastras Stadium, San Luis Potosi, Mexico – May 5, 2019 Dorados coach Diego Armando Maradona before the match REUTERS/Henry Romero TPX IMAGES OF THE DAY

May 19, 2019

Cannes, France (Reuters) – Argentine soccer great Diego Maradona is set to miss out on the Cannes premiere of a documentary about his life and career, due to “a shoulder injury requiring medical attention”, the film’s publicists said on Sunday.

Maradona’s appearance on the French Riviera was one of the hotly-anticipated star turns on the red carpet at this year’s film festival.

The documentary by Asif Kapadia – who also made “Senna”, about racing driver Ayrton Senna, and “Amy”, delving into the life of late singer Any Winehouse – will be screened for the first time on Sunday evening.

“Diego Maradona deeply regrets being unable to attend the world premiere of his film,” a statement distributed by publicists read.

“A shoulder injury requiring medical attention has prevented his travel to the festival, however he will be with both the audience and filmmakers in spirit, and looks forward to seeing the film himself very soon.”

“Diego Maradona” tracks the soccer star’s rise to glory at Italian team Napoli and as Argentina’s World Cup winning captain, as well as shining a light on his fall from grace, extravagant life and battles with drug addiction.

Maradona, 58, has been frequently hospitalized over the years, including in January this year when he was operated on for stomach bleeding.

(Reporting by Sarah White; editing by Emelia Sithole-Matarise)

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72nd Cannes Film Festival - Alain Delon Photocall
72nd Cannes Film Festival – Honorary Palme d’Or Award – Photocall – Cannes, France, May 19, 2019. Alain Delon poses. REUTERS/Stephane Mahe

May 19, 2019

By Sarah White and Johnny Cotton

CANNES, France (Reuters) – France’s Alain Delon, set on Sunday to receive an honorary prize at Cannes that has sparked scrutiny of his views on women and same-sex couples, said in a newspaper interview that as an actor at least, he was beyond reproach.

“People can say what they want, I’m used to it. But there’s nothing to be said about my career. It’s irreproachable,” Delon, 83, was quoted as saying in the Journal Du Dimanche (JDD).

One of Europe’s most acclaimed actors for more than five decades and particularly admired in his native France, Delon has starred in films including Luchino Visconti’s “The Leopard”, which won the top prize at Cannes’ cinema showcase in 1963.

But he has also inflamed public opinion over the years, including by declaring his friendship for far-right politician French Jean-Marie Le Pen and has admitted to slapping women.

Delon stood by some of his views in the interview and said other comments attributed to him had been distorted.

“I’m not against gay marriage, I don’t care: people should do as they please,” he told the JDD. “But I’m against adoption by two people of the same sex.”

“I said I’d slapped a woman? Yes. And I should have added that I’ve received more slaps than I’ve ever given. I’ve never harassed a woman in my life. They, however, harassed me a lot.”

Delon said was “right-wing, full stop” and was not a supporter of the far-right.

GREAT STRIDES?

In the wake of “Me Too” movement to demand greater respect and representation for women, which erupted following a wave of sexual harassment scandals that rocked the movie industry, the Cannes prize has prompted criticism.

Melissa Silverstein, the founder of women’s advocate group Women and Hollywood, called out the Cannes festival for honoring “these abhorrent values” with Delon’s prize.

An online petition launched from the United States decrying the award had by Sunday reached just over 25,500 signatories.

“The festival has really tried to make great strides with their organization and … this year they doubled the number of women in competition,” said Rhona Richford, a Hollywood Reporter journalist based in France. “And so I think that doing that on one hand and turning around and giving this just shows an error in judgment.”

Cannes festival organizers defended their choice, saying Delon was “not perfect” but was being recognized for his acting career. The ceremony will take place later on Sunday.

“We’re not giving him the Nobel Peace Prize,” festival director Thierry Fremaux told a news conference earlier in the week.

Some fellow actors also came to Delon’s defense.

“What Alain Delon says is his own business, whether we agree with him or not,” said French actress Virginie Ledoyen, who is President of the jury handing out Cannes’ “Queer Palm” award for LGBT-relevant films this year. “He’s a magnificent actor who really shaped cinema.”

(Reporting by Sarah White and Johnny Cotton, editing by Louise Heavens)

Source: OANN

72nd Cannes Film Festival - Red Carpet Arrivals
72nd Cannes Film Festival – Red Carpet Arrivals – Cannes, France, May 16, 2019. Julianne Moore poses ahead of screening of the “5B” movie. REUTERS/Jean-Paul Pelissier

May 19, 2019

By Sarah Mills

CANNES, France (Reuters) – Oscar-winning actress Julianne Moore said her experience of caring for someone infected with the AIDS virus had spurred her decision to help promote the documentary ‘5B’ about the unsung heroes who looked after AIDS sufferers in the 1980s.

The film, screened during the first week of the Cannes Film Festival, tells the story of Ward 5B at the San Francisco General Hospital, the first specialist care unit for people with HIV/AIDs in the United States.

In an interview with Reuters at Cannes, Moore, 58, said she lost a friend to the virus just after graduating from college.

“It was the end of 1984 and it was a friend who had gone to Mexico, and everyone said he had caught the flu  – and he died two weeks later and I was shocked,” Moore said.

Later on the actress, whose best known films include “Magnolia” and “The Hours”, came to help care for an AIDS sufferer at a hospital in New York where friends and family were allowed to come in look after patients.

“By 1985 a lot of people I knew were sick … and by 88 I was caring for somebody in a ward…I saw this movie and was so incredibly moved,” she said.

    The film delves into how nurses who saw a rise in patients with the condition decided to set up a care center, dismayed by the lack of humanity many were shown at the time.

    Cliff Harrison – one of the driving forces behind the treatment center where the staff ignored ideas of clinical detachment and had physical contact with patients – said fear about the epidemic and suspicion about how it spread was one of the hurdles carers had to deal with.

   “All of a sudden I found myself at a cocktail party and someone asked me what I did and everyone just spread back,” Harrison told Reuters, as he discussed the film with Moore.

    Dan Krauss, who co-directed the film with Paul Haggis, said ‘5B’ had a message for modern day viewers.

    “It’s about compassion and it’s about dignity and it’s about respect,” Krauss said.

    “If we can inject that into the national conversation inside the United States and elsewhere I think we will have accomplished something needed right now,” he said.

    Every year movie stars, models and the super rich attend a major HIV-AIDS fundraising event during the Cannes Film Festival, the AmfAR dinner, put on by the U.S.-based Foundation For AIDS Research.

    This year’s event on May 23 comes after an HIV-positive man in Britain became the second known adult worldwide to be cleared of the AIDS virus, according to his doctors, after he received a bone marrow transplant from an HIV-resistant donor.

(Writing by Sarah White; Editing by Raissa Kasolowsky)

Source: OANN

Israel's Netta Barzilai, winner of last year's Eurovision Song Contest, hands the trophy to Duncan Laurence of the Netherlands, the winner of the 2019 Eurovision Song Contest in Tel Aviv, Israel
Israel’s Netta Barzilai, winner of last year’s Eurovision Song Contest, hands the trophy to Duncan Laurence of the Netherlands, the winner of the 2019 Eurovision Song Contest in Tel Aviv, Israel May 19, 2019. REUTERS/Ronen Zvulun

May 18, 2019

JERUSALEM (Reuters) – The Netherlands won the 64th Eurovision Song Contest in Israel on Sunday in a songfest that passed off without serious incident, despite calls by pro-Palestinian groups to boycott the event.

Duncan Laurence singing ‘Arcade’ beat off 25 other contestants in the grand final in Tel Aviv to win the glass microphone trophy.

The 41-country singing competition featured a guest appearance by Madonna, who caused some controversy when two backing dancers briefly appeared on stage wearing costumes emblazoned with the Israeli and Palestinians flags. Iceland’s contestants also displayed small Palestinian banners during the voting.

With its victory, the Netherlands wins the right to host next year’s competition.

(Reporting by Stephen Farrell)

Source: OANN

FILE PHOTO: Former California governor and 'Mr. Universe' Arnold Schwarzenegger attends the COP23 UN Climate Change Conference 2017, hosted by Fiji but held in Bonn
FILE PHOTO: Former California governor and ‘Mr. Universe’ Arnold Schwarzenegger attends the COP23 UN Climate Change Conference 2017, hosted by Fiji but held in Bonn, Germany, November 12, 2017. REUTERS/Wolfgang Rattay/File Photo

May 18, 2019

JOHANNESBURG (Reuters) – A man struck Arnold Schwarzenegger with a flying kick at a sports event in South Africa on Saturday, though the actor and former California governor later reassured fans that they needn’t worry about him.

Schwarzenegger, 71, was chatting with fans at the Arnold Classic Africa, an event showcasing body-building and other sports, in Johannesburg when he was kicked from behind.

“There is nothing to worry about. I thought I was just jostled by the crowd, which happens a lot,” the star of the “Terminator” films wrote on Twitter, thanking fans for their concern.

“I only realized I was kicked when I saw the video like all of you. I’m just glad the idiot didn’t interrupt my Snapchat.”

A video of the incident posted by Schwarzenegger showed he was not felled by the kick.

The assailant was quickly restrained by a security guard.

(Reporting by Alexander Winning; Editing by Marie-Louise Gumuchian)

Source: OANN

72nd Cannes Film Festival - Screening of the documentary film
72nd Cannes Film Festival – Screening of the documentary film “Que Sea Ley” (Let it be law) presented as part of special screenings – Cannes, France, May 18, 2019. Protesters demonstrate against the rejection of the law legalizing abortion in Argentina. REUTERS/Stephane Mahe

May 18, 2019

CANNES, France (Reuters) – Waving green scarves and chanting “solidarity for women”, an Argentine film crew and several dozen campaigners turned the Cannes red carpet into a protest on Saturday as they showcased a documentary looking at the highly-charged issue of abortion.

Unveiled during the cinema festival on the French Riviera, “Que Sea Ley”, which translates as “Let It Be Law”, follows the battle to pass a bill legalizing abortion in Argentina, where terminations are currently only permitted in cases of rape, or if the mother’s health is at risk.

The bill gained widespread support but was rejected by the South American country’s Senate last year, and the issue has sparked mass protests by people on both sides of the debate.

Pro-choice supporters usually wear green handkerchiefs at demonstrations, while those who are against abortion carry blue ones.

After inviting several campaigners for legalized abortion to the premiere, the documentary’s director Juan Solanas walked the red carpet alongside women waving scarves, with some even decked out in green gowns and make-up.

The film’s Cannes screening coincides with a fresh round of debate in the United States, where Alabama’s governor this week signed a bill to ban nearly all abortions, even in cases of rape and incest.

Solanas, the son of renowned Argentine filmmaker Fernando “Pino” Solanas, told Reuters ahead of Saturday’s premiere that he was firmly on one side of the debate.

He admitted his biggest challenge was balancing points of view from both sides.

“It makes me ashamed that the law does not exist,” he said.

(Reporting by Will Russell; Writing by Sarah White)

Source: OANN

72nd Cannes Film Festival - Photocall for the film
72nd Cannes Film Festival – Photocall for the film “Pain and Glory” (Dolor y Gloria) in competition – Cannes, France, May 18, 2019. Director Pedro Almodovar and cast members Penelope Cruz and Antonio Banderas pose. REUTERS/Eric Gaillard

May 18, 2019

By Sarah White

CANNES, France (Reuters) – Pedro Almodovar is used to a good reception from what he called “faithful” audiences in France – so much so, the director joked on Saturday that he was “Franco-Spanish”.

His latest movie, a loosely autobiographical portrait of a tormented filmmaker, could up the ante for the Oscar winner after an enthusiastic response from critics at the Cannes Film Festival, where it is a contender for the top Palme D’Or award.

“Pain and Glory” reunites Almodovar long-time collaborators Antonio Banderas and Penelope Cruz in a wistful dive into the world of cinema and the highs and lows of creativity.

As ageing director Salvador, played by Banderas, looks back on his life, other themes dear to Almodovar take hold too, including the character’s relationship with his mother and his explorations of desire and love.

“I project myself in this film, but it’s not to be taken literally,” Almodovar, wearing dark glasses, told a news conference following the movie’s Cannes premiere the night before, where it received a standing ovation.

From a scene about Salvador’s sexual awakening to a tense discussion with his mother, many episodes were invented, he said, adding though his experiences had informed the fiction.

“I did live through a love that was broken off at a moment when the flame was very much still alive, because of a set of circumstances,” Almodovar said.

“That’s a very painful thing. It’s not natural to have to end it…it’s like cutting off your own arm.”

“DON’T ASK”

Delving into Almodovar’s life was also a challenge for a cast deeply connected to the director – starring in his early movies propelled both Banderas and Cruz into international stardom.

Cruz, who featured in “All About My Mother” and “Volver” among other Almodovar classics, said she had felt unusually shy about grilling the filmmaker in preparation for “Pain And Glory”, where she plays the protagonist’s mother.

“It was curious,” Cruz said. “I think there was a form of respect towards someone who is laying themselves bare…There was something inside me that made me think ‘don’t ask’”.

Banderas said he had tried to wipe the slate clean in his eighth collaboration with Almodovar.

“To create this character I had to kill Antonio Banderas,” he said.

Almodovar, 69, headed the jury at Cannes in 2017, but has never won the Palme D’Or.

“Pain And Glory”, which already premiered in Spain, was one of the filmmaker’s “best and most personal movie in years”, IndieWire critic Eric Kohn wrote after its Cannes screening.

“Driven by Banderas’ lovely, nuanced turn and the slow-burn exposition, it’s impossible not to feel the emotional turmoil on both sides of the camera,” Kohn said.

Almodovar’s “All About My Mother” won the best foreign language film Oscar in 2000 while his drama “Talk To Her” clinched the best original screenplay Academy Award in 2003.

(Reporting by Sarah White; Editing by Marie-Louise Gumuchian)

Source: OANN

72nd Cannes Film Festival - Photocall for the film
72nd Cannes Film Festival – Photocall for the film “Pain and Glory” (Dolor y Gloria) in competition – Cannes, France, May 18, 2019. Director Pedro Almodovar and cast members Penelope Cruz and Antonio Banderas pose. REUTERS/Eric Gaillard

May 18, 2019

By Sarah White

CANNES, France (Reuters) – Pedro Almodovar is used to a good reception from what he called “faithful” audiences in France – so much so, the director joked on Saturday that he was “Franco-Spanish”.

His latest movie, a loosely autobiographical portrait of a tormented filmmaker, could up the ante for the Oscar winner after an enthusiastic response from critics at the Cannes Film Festival, where it is a contender for the top Palme D’Or award.

“Pain and Glory” reunites Almodovar long-time collaborators Antonio Banderas and Penelope Cruz in a wistful dive into the world of cinema and the highs and lows of creativity.

As ageing director Salvador, played by Banderas, looks back on his life, other themes dear to Almodovar take hold too, including the character’s relationship with his mother and his explorations of desire and love.

“I project myself in this film, but it’s not to be taken literally,” Almodovar, wearing dark glasses, told a news conference following the movie’s Cannes premiere the night before, where it received a standing ovation.

From a scene about Salvador’s sexual awakening to a tense discussion with his mother, many episodes were invented, he said, adding though his experiences had informed the fiction.

“I did live through a love that was broken off at a moment when the flame was very much still alive, because of a set of circumstances,” Almodovar said.

“That’s a very painful thing. It’s not natural to have to end it…it’s like cutting off your own arm.”

“DON’T ASK”

Delving into Almodovar’s life was also a challenge for a cast deeply connected to the director – starring in his early movies propelled both Banderas and Cruz into international stardom.

Cruz, who featured in “All About My Mother” and “Volver” among other Almodovar classics, said she had felt unusually shy about grilling the filmmaker in preparation for “Pain And Glory”, where she plays the protagonist’s mother.

“It was curious,” Cruz said. “I think there was a form of respect towards someone who is laying themselves bare…There was something inside me that made me think ‘don’t ask’”.

Banderas said he had tried to wipe the slate clean in his eighth collaboration with Almodovar.

“To create this character I had to kill Antonio Banderas,” he said.

Almodovar, 69, headed the jury at Cannes in 2017, but has never won the Palme D’Or.

“Pain And Glory”, which already premiered in Spain, was one of the filmmaker’s “best and most personal movie in years”, IndieWire critic Eric Kohn wrote after its Cannes screening.

“Driven by Banderas’ lovely, nuanced turn and the slow-burn exposition, it’s impossible not to feel the emotional turmoil on both sides of the camera,” Kohn said.

Almodovar’s “All About My Mother” won the best foreign language film Oscar in 2000 while his drama “Talk To Her” clinched the best original screenplay Academy Award in 2003.

(Reporting by Sarah White; Editing by Marie-Louise Gumuchian)

Source: OANN

72nd Cannes Film Festival - Photocall for the film
72nd Cannes Film Festival – Photocall for the film “Pain and Glory” (Dolor y Gloria) in competition – Cannes, France, May 18, 2019. Cast member Antonio Banderas poses. REUTERS/Jean-Paul Pelissier

May 18, 2019

By Hanna Rantala

CANNES, France (Reuters) – Antonio Banderas said a heart attack he suffered two years ago spurred him into a health kick but also allowed him to reinvent himself as an actor, including as he prepared to take on the lead role in Pedro Almodovar’s autobiographical new movie.

“It was fantastic advice for my life,” Banderas told Reuters in an interview in Cannes, where Almodovar’s “Pain And Glory” is vying for the French film festival’s top Palme D’Or prize.

“I don’t smoke anymore, I do more exercise than ever. I feel more clear in my brain and I kind of reinvented myself.”

The 58-year-old Spaniard, known for films like “The Mask of Zorro” and “Evita”, recently took on the role of painter Pablo Picasso in television drama “Genius”.

“I am reflecting very much about my acting career. And I feel very fresh and very new,” he said.

“Pain And Glory” – about an ageing, tormented film director who looks back at his life – reunites Banderas with Penelope Cruz, also a longtime Almodovar collaborator.

Both were left teary-eyed after its Friday screening at Cannes and Banderas choked up at a news conference on Saturday, saying the months spent working on the film had been some of his happiest yet as an actor in a career spanning over 100 movies.

Banderas said his health scare had also helped him wipe the slate clean as he prepared to play protagonist Salvador, something Almodovar was very demanding about.

“He wants you new, fresh, different, getting rid of all these mannerisms,” Banderas told Reuters.

The actor said he had not known at first that Almodovar, a close friend, would be digging deep into his personal life for the plotline of the new movie, which the director has described as part autobiography, part fiction.

    “(Almodovar) called me on the phone and he said ‘I’m going to send you a script that you are going to find (has) a lot of references to people that you know’,” Banderas said.

“So he sent it to me and I read it and I was (like) ‘oh my God, it’s him.’”

(Additional reporting by Sarah White; Writing by Sarah White; Editing by Marie-Louise Gumuchian)

Source: OANN

72nd Cannes Film Festival - News conference for the film
72nd Cannes Film Festival – News conference for the film “Sorry We Missed You” in competition – Cannes, France, May 17, 2019. Director Ken Loach arrives. REUTERS/Stephane Mahe

May 18, 2019

By Sarah White and Sarah Mills

CANNES, France (Reuters) – With the tale of a family unraveling under the pressure of their precarious jobs, Ken Loach’s latest Cannes entry takes aim at the gig economy model dividing politicians and workers the world over.

And at 82, the searing drama showed the veteran British director – who has already won the cinema showcase’s top Palme D’Or prize twice – on fine form, some critics said.

Set in the northeastern English city of Newcastle, “I’m Sorry We Missed You” charts hard-working father Ricky Turner’s efforts to keep his family together after he signs on as a self-employed delivery man, and tries to dig himself out of debt.

Life as a contractor on endless shifts soon takes its toll, however, including financially as every delay is logged onto a central electronic system – one which determines “who lives and who dies”, according the delivery firm’s hard-nosed manager.

As small sanctions start piling up, adding to the burden Ricky has already taken on with a downpayment on his van, he works ever more doggedly, inflaming relations with his two children and his wife.

The film builds suspense as viewers also will Ricky to stop – highlighting the paradox of a labor system where, in theory at least, contractors enjoy the freedom to do as they please.

“It’s the perfect situation for the big companies. No risk and the worker has to run himself into the ground without being told to,” Loach told a news conference on Friday.

“It’s not capitalism failing. It’s capitalism working as it always will,” Loach added.

“VERY KEN-LOACHIAN”

Known for his explorations of working class struggles, Ken Loach’s latest film was “very Ken-Loachian”, Cannes’ festival director Thierry Fremaux had said in April ahead of the competition.

Some reviewers, including at entertainment site The Wrap, bemoaned a lack of fresh ground in the director’s repertoire.

But in the age of ride-hailing services like Uber, or food delivery firms that rely on contractors – increasingly under scrutiny over the protections offered to workers – the movie managed to land its punches well, others said.

“It radiates a timeliness that suggests an old-fashioned Ken Loach lament matters more than ever,” IndieWire critic Eric Kohn wrote.

Asked on Friday whether he saw any way to shake up the labor model decried in the film, Loach said his hopes lay with Jeremy Corbyn, the leader of Britain’s opposition Labour Party, and his team – but added that they faced an uphill struggle.

“They promised to cut back the power of capital, and the attacks on them, the smears, have been extraordinary. And they will get worse,” Loach said.   

(Reporting by Sarah White; Editing by Toby Chopra)

Source: OANN

72nd Cannes Film Festival - Screening of the film
72nd Cannes Film Festival – Screening of the film “The Wild Goose Lake” (Nan Fang Che Zhan De Ju Hui) in competition – Red Carpet Arrivals – Cannes, France, May 18, 2019. Director Quentin Tarantino and wife Daniella Pick pose. REUTERS/Eric Gaillard

May 18, 2019

CANNES, France (Reuters) – Quentin Tarantino may have made it to the Cannes film competition by the skin of his teeth after rushing to finish editing on his latest movie in time but the director put in an unexpected early turn on the Croisette’s red carpet on Saturday.

Accompanied by his wife, Israeli singer and model Daniela Pick, Tarantino surprised movie-goers as he joined stars lining up to see “The Wild Goose Lake”, a film by China’s Diao Yinan which is also competing for the festival’s top Palme D’Or prize.

Tarantino’s ninth outing “Once Upon A Time … In Hollywood”, billed as an ode to the cinema industry, is one of the Cannes Film Festival’s most hotly anticipated entries this year.

Starring Brad Pitt, Margot Robbie and Leonardo DiCaprio, it is set to premiere on the French Riviera on May 21.

Tarantino, who is returning to the film festival 25 years after “Pulp Fiction” clinched the Palme D’Or, was initially omitted from the festival line-up but was announced as a late entrant after racing to edit his latest movie.

(Reporting by Sarah White; Editing by Marie-Louise Gumuchian)

Source: OANN

FILE PHOTO: Metropolitan Museum of Art Costume Institute Gala - Met Gala - Camp: Notes on Fashion- Arrivals - New York City, U.S. – May 6, 2019 -Kim Kardashian and Kanye West
FILE PHOTO: Metropolitan Museum of Art Costume Institute Gala – Met Gala – Camp: Notes on Fashion- Arrivals – New York City, U.S. – May 6, 2019 – Kim Kardashian and Kanye West. REUTERS/Andrew Kelly/File Photo

May 18, 2019

(Reuters) – Reality television star Kim Kardashian announced on Friday she has named her fourth child, a boy born last week via a surrogate, Psalm West.

Kardashian wrote “Psalm West” in a post to her 60 million followers on Twitter that included a photo of the infant wrapped in a blanket in a crib with a caption that read in part: “We are blessed beyond measure. We have everything we need.”

Kardashian and her musician husband Kanye West have three other children – Chicago, a girl who was also born via a surrogate in January 2018, a son, Saint, 3, and daughter North, 5.

Kardashian has said she decided to use a surrogate after doctors warned of serious health risks if she became pregnant again following the birth of Saint in 2015.

(Reporting by Brendan O’Brien in Chicago; Editing by Paul Tait)

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Grumpy cat arrives at the 2014 MTV Movie Awards in Los Angeles
FILE PHOTO: Grumpy cat arrives at the 2014 MTV Movie Awards in Los Angeles, California April 13, 2014. REUTERS/Danny Moloshok (UNITED STATES – Tags: ENTERTAINMENT ANIMALS) (MTV-ARRIVALS)

May 17, 2019

By Andrew Hay

(Reuters) – Grumpy Cat, an internet celebrity for her permanent frown, died “in the arms of her mommy, Tabatha” this week, leaving behind countless online jokes about how we all feel at our worst moments, her family said on Friday. She was 7.

Despite care from top professionals, Grumpy died on Tuesday from complications after a recent urinary tract infection, the family said on Twitter.

Grumpy, whose real name is Tardar Sauce, became an internet sensation after her owner Tabatha Bundesen posted a picture of her scowl six years ago. She went on to appear on magazine covers, television advertisements and even starred in her own movie “Grumpy Cat’s Worst Christmas Ever.”

“Grumpy Cat has helped millions of people smile all around the world – even when times were tough,” the family said. “Her spirit will continue to live on through her fans everywhere.”

Tribute memes poured in at hashtag #GrumpyCat.

“I’m actually bummed about this,” read one with a picture of Grumpy scowling into the sunset.

(Reporting By Andrew Hay in Taos, New Mexico; Editing by Nick Zieminski)

Source: OANN

Mick Jagger of the Rolling Stones performs during a concert of their
FILE PHOTO: Mick Jagger of the Rolling Stones performs during a concert of their “No Filter” European tour at the Orange Velodrome stadium in Marseille, France, June 26, 2018. REUTERS/Jean-Paul Pelissier

May 15, 2019

(Reuters) – Rolling Stones singer Mick Jagger posted a video of his trademark dance moves on Twitter on Wednesday to show the world he is back in shape following heart valve surgery.

The 75-year-old singer appeared on top form in jogging pants, trainers and a white T-shirt, dancing flamboyantly in a studio. There was no accompanying text.

Jagger underwent heart valve replacement earlier this year, forcing the Stones to delay a tour of the United States and Canada to allow him to receive medical treatment.

He apologized to fans, saying he hated to let them down.

Originally set to begin in April, the tour is now expected to start in July, according to Billboard magazine.

(Reporting by Elisabeth O’Leary; editing by Stephen Addison)

Source: OANN

Palestinian singer performs during a musical event calling to boycott the Eurovision Song Contest hosted by Israel, in Gaza City
FILE PHOTO: A Palestinian singer performs during a musical event calling to boycott the Eurovision Song Contest hosted by Israel, on the rubble of a building that was recently destroyed by Israeli air strikes, in Gaza City May 14, 2019. REUTERS/Mohammed Salem

May 15, 2019

TEL AVIV (Reuters) – The Eurovision Song Contest has found few fans in a famous mosque in the Israeli host city, where worshippers have complained that the gaudy festivities are disrupting their observances of the Muslim holy month of Ramadan.

A “Eurovision Village” pavilion set up on the Tel Aviv beachfront to host parties is located directly opposite the century-old Hassan Bek mosque, named after an Ottoman governor and frequented by Israeli Arabs from nearby Jaffa.

The 41-country songfest has been a focus of pro-Palestinian boycott calls, and some Muslims fasting daily as part of Ramadan resent the carousing of scantily clad Eurovision enthusiasts.

“It (pavilion) is in the wrong place because it is close to the mosque,” said worshiper Sa’d Abu Zakariya.

“When we pray inside there is no feeling of solemnity because of the sound … We stand here and we can hear the noisy songs.”

Mohammad al-Akra, a Palestinian laborer from the occupied West Bank who prays at Hassan Bek, said “the Jews” were throwing parties “where people drink alcohol and everything”.

“Because of the noise we close the windows and doors,” said Abed al-Kareem Mohammad, another worshiper.

Tel Aviv city hall had no immediate comment. The Eurovision Song Contest kicked off on Tuesday and ends on Saturday.

In the West Bank city of Bethlehem, a small group of Palestinian protesters came out against the contest.

“Israel is using Eurovision to distract attention from the crime of the Nakba,” one demonstrator’s placard read, using the Arabic term for the “Catastrophe” when hundreds of thousands of Palestinians fled or were displaced in violence that led to war between the new Jewish state and its Arab neighbors in 1948.

May 15 is traditionally the day Palestinians mark the “Nakba”.

(Writing by Dan Williams; Editing by Hugh Lawson)

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First Semi Final - 2019 Eurovision Song Contest in Tel Aviv, Israel
Performers from countries that qualified to the final of the 2019 Eurovision Song Contest gather on stage at the end of the first semi final session in Tel Aviv, Israel May 15, 2019. REUTERS/Ronen Zvulun

May 15, 2019

TEL AVIV (Reuters) – Israel’s webcast of the Eurovision Song Contest semi-final was hacked with animated images of explosions in the host city of Tel Aviv, national broadcaster Kan said on Wednesday, casting blame on Hamas militants.

Hamas, a Palestinian Islamist group that controls the Gaza Strip, had no immediate comment. Israel’s hosting of Eurovision 2019 has drawn pro-Palestinian boycott calls.

(Reporting by Dan Williams; Editing by Jeffrey Heller and Andrew Cawthorne)

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Actor, executive producer, and director George Clooney, actor Christopher Abbott, and actor Kyle Chandler speak on a panel for the Hulu series
FILE PHOTO: Actor, executive producer, and director George Clooney (L-R), actor Christopher Abbott, and actor Kyle Chandler speak on a panel for the Hulu series “Catch-22”, during the Television Critics Association (TCA) Winter Press Tour in Pasadena, California, U.S., February 11, 2019. REUTERS/Lucy Nicholson

May 14, 2019

By Jill Serjeant

LOS ANGELES (Reuters) – Joseph Heller’s 1961 novel “Catch-22” was set in World War Two, but the makers of the first television adaptation believe its satirical take on the insanity of war is just as relevant in today’s age of anxiety.

With characters like profiteering Milo Minderbender, mediocre commander Major Major and parade loving Lieutenant Scheisskopf, “Catch-22” portrays a U.S. bomber squadron whose superiors are not just incompetent, but deaf to reason.

“Heller was very prophetic and this has become more apparent as we move more deeply into this age of anxiety and absurdity,” said Luke Davies, who co-wrote Hulu’s six-episode adaptation starring George Clooney that launches on Friday.

“The novel is filled with crazy older men who are delusionally invested in the sense of their own glory and importance, and who are comically clueless. We have one of those guys in the White House right now, so it feels way more relevant even than it was a couple of years ago,” Davies said.

“Catch-22” follows a squadron whose leaders continually raise the number of missions their men are required to fly before being sent home, resulting in no one being sent home.

The only way out is to claim insanity, but a request to be removed from duty is proof of sanity, hence the bureaucratic rule Catch-22.

Although “Catch-22” was made into a film in 1970 starring Alan Arkin, Davies said the story was better suited to the longer arc of a television series.

“It is very hard to do justice to this magnificent novel in two hours or less,” he said.

Because Heller’s non-linear style echoes the absurdity of the plot, Davies took eight months just to straighten out the chronology for the TV series, which is told from the viewpoint of bombardier Captain John Yossarian, played by Christopher Abbott.

“I wanted to let the chaotic energy and that kaleidoscopic sense of a mad jostle remain, but I cleaned up the chronology so that all of our characters could actually grow emotionally as the series progressed,” he said.

Davies said he fell in love with the book when he was a teenager and has since read it multiple times. But he hopes the TV series will resonate whether or not viewers have read, or remember, the book.

“I think the absurdity that keeps raining down upon Yossarian is something that resonates with people.

“All of the metaphorical stuff aside about the insanity of war, Yossarian loses his friends and this increases his sense of anxiety, fear and bewilderment,” Davies said.

(This story corrects in 7th paragraph that Alan Arkin, not Alan Alda, starred in the 1970 movie)

(Reporting by Jill Serjeant; editing by Jonathan Oatis)

Source: OANN

72nd Cannes Film Festival - Opening ceremony - Red Carpet Arrivals
72nd Cannes Film Festival – Opening ceremony and screening of the film “The Dead Don’t Die” in competition – Red Carpet arrivals – Cannes, France, May 14, 2019. Director Jim Jarmusch poses with cast members Bill Murray, Tilda Swinton, Sara Driver. REUTERS/Jean-Paul Pelissier

May 14, 2019

By Hanna Rantala

CANNES, France (Reuters) – Pop royalty mingled with screen stars at Cannes on Tuesday, with the eclectic cast of zombie movie “The Dead Don’t Die” leading the glamor on the red carpet as the film festival got underway on the French Riviera.

British actress Tilda Swinton, in a sparkling silver gown, singer Selena Gomez and actors Bill Murray and Adam Driver made their grand entrance to the first screening and opening gala alongside the film’s director Jim Jarmusch.

The acerbic comic romp set in small-town America is set to be one of the highlights of the competition in Cannes, alongside Quentin Tarantino’s hotly anticipated return to the Croisette with an ode to Hollywood based on his memories of the industry.

They will vie for the top Palme D’Or prize alongside newcomers such as Mati Diop, with her film “Atlantics”, set in the suburbs of Dakar, Senegal.

Although Netflix productions are conspicuously absent from the line-up – as a stand-off with Cannes over selection rules rumbles on – the streaming company loomed large over the first day of festivities.

“Cinema is about being together,” Edouard Baer, a French actor and the opening night master of ceremonies, told assembled stars. “Go out, rather than staying at home watching Netflix with a pizza.”

Cannes jury president Alejandro Gonzalez Inarritu, the Mexican director of “Birdman” and “The Revenant”, stressed his support for movie theaters earlier in the day and at the gala.

“That communal experience is very beautiful,” he said.

Cannes organizers also paid tribute to late Belgian-born filmmaker Agnes Varda, a pioneering female director and influential force of the New Wave movement and French cinema.

Varda, who died in March aged 90, features on Cannes’ official posting, crouched on the back of a crew member as she tried to grab a shot. A clip of her 1962 “Cleo from 5 to 7” was screened at the ceremony.

“The Dead Don’t Die” was also being shown at cinemas across France on Tuesday evening.

(Additional reporting and writing by Sarah White; Editing by Frances Kerry)

Source: OANN

ACTORS HARVEY KORMAN AND TIM CONWAY AT TV HALL OF FAME CEREMONY.
FILE PHOTO: Actors Harvey Korman (L) and Tim Conway pose together as they arrive for the Academy of Television Arts & Sciences 15th annual Hall of Fame
ceremony November 6, 2002 in Beverly Hills. REUTERS/Fred Prouser

May 14, 2019

By Bill Trott

(Reuters) – Emmy-winning actor Tim Conway, who brought an endearing, free-wheeling goofiness to skits on “The Carol Burnett Show” that cracked up his cast mates as well as the audience, died on Tuesday at the age of 85, his publicist said.

Publicist Howard Bragman said Conway died in the Los Angeles area on Tuesday morning. Prior to his death, he had suffered complications from normal pressure hydrocephalus (NPH) and had no signs of dementia or Alzheimer’s, Bragman said.

Conway won three Emmy awards for acting on the Burnett show and a fourth as a writer in the 1960s and ’70s. He also won guest actor Emmys for a 1996 appearance on “Coach” and another in 2008 for “30 Rock.”

Conway first found television fame on the 1960s comedy “McHale’s Navy” playing Ensign Parker, a befuddled by-the-book officer in a group of unconventional sailors in the Pacific during World War Two.

He would find greater success in the comedy sketches on Burnett’s show starting in 1968. He was at his best with characters that were a little naive, clumsy or slow-witted, and especially when teamed with straight man Harvey Korman and given the chance to show off his improvisational and slapstick skills.

“Nobody could be with Tim and keep a straight face once he got on a roll,” Burnett said in a 2003 interview with the Television Academy Foundation.

She said Conway would stick with a sketch’s script through dress rehearsal but once it was time to tape the performance for a broadcast, he began freelancing. His improvised antics often reduced his co-stars – especially his close friend Korman – to tears of laughter.

“I think Conway’s goal in life was to destroy Harvey,” Burnett told the Television Academy Foundation.

DANGEROUS DENTIST

In one popular skit, Conway’s portrayal of an inept dentist who accidentally injects himself with painkiller resulted in Korman, who was playing the patient, laughing so hard that he wet his pants, Burnett said.

Conway’s other most memorable recurring characters included an elderly man whose shuffling pace always caused trouble and Mr. Tudball, a businessman plagued by an indifferent and inept secretary played by Burnett.

Conway started on the show as a guest star in its first season in 1967 but did not officially become a regular until 1975.

“People have often asked me, ‘If you weren’t in show business, what would you be doing?’” Conway wrote in his memoir “What’s So Funny?: My Hilarious Life.” “The truth is I don’t think there’s anything else I could be doing so the answer would have to be, nothing … I guess you could say I’m in the only business I could be in.”

His popularity on the Burnett program led to his own shows – a sitcom in 1970 and a variety show in 1980 – and they lasted about a year each. He said they failed because he was not comfortable being the star.

Before Korman’s death in 2008 he and Conway toured with an act that featured stand-up comedy, recreations of their better-known skits and question-and-answer sessions with the audience.

His movie work included “The World’s Greatest Athlete” in 1973, “The Apple Dumpling Gang” in 1975, “The Shaggy D.A.” in 1976, “The Prize Fighter” in 1979 and “Private Eyes” in 1980.

Conway also starred in the “Dorf” series of short videos as a sawed-off golf instructor, borrowing the accent his Mr. Tudball character used. He said Dorf was one of his favorite characters.

Conway, who was born on Dec. 15, 1933, grew up near Cleveland and after serving in the Army worked in Cleveland radio and developed comedy routines. Actress Rose Marie, a co-star on “The Dick Van Dyke Show,” liked his work and helped him get a regular spot on “The Steve Allen Show” in the early 1960s.

(Writing by Bill Trott; Additional reporting by Jill Serjeant; Editing by Diane Craft)

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FILE PHOTO: Marvel Comics co-creator Lee shows his hands after placing them in cement during a ceremony in the forecourt of the TCL Chinese theatre in Los Angeles
FILE PHOTO: Marvel Comics co-creator Stan Lee shows his hands after placing them in cement during a ceremony in the forecourt of the TCL Chinese theatre in Los Angeles, California, U.S., July 18, 2017. REUTERS/Mario Anzuoni

May 14, 2019

LOS ANGELES (Reuters) – The former manager of Stan Lee has been charged with elder abuse against the late comic book legend, a Los Angeles court official said on Monday.

Keya Morgan was charged on Friday with five counts of elder abuse, including false imprisonment, fraud and forgery stemming from an incident last summer when Lee was 95 years old, a spokeswoman for the Los Angeles Superior Court public information office told Los Angeles City News Service.

The spokeswoman added that a warrant for Morgan’s arrest had been issued.

Morgan, a New York-based memorabilia collector who became involved with Lee in 2017, was served with a restraining order last year after Lee’s family accused him of elder abuse.

The Los Angeles District Attorney’s office on Monday said it was unable to provide any information. An attorney for Morgan could not be located but last year Morgan denied allegations of abuse.

Lee, the co-creator of “Spider-Man,” “Iron Man,” “The Hulk” and dozens of other Marvel superheroes, died in November 2018 at the age of 95.

In court documents last year, Morgan was accused of seizing control of Lee’s Hollywood Hills home and hiring security guards with orders to keep away relatives and associates before moving the comic book creator to an unfamiliar condominium.

(Reporting by Jill Serjeant; Editing by Lisa Shumaker)

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FILE PHOTO: Madonna performs
FILE PHOTO: Madonna performs “Nothing Compares 2 U” during her tribute to Prince at the 2016 Billboard Awards in Las Vegas, Nevada, U.S., May 22, 2016. REUTERS/Mario Anzuoni/File Photo

May 14, 2019

By Jill Serjeant

LOS ANGELES (Reuters) – Pop superstar Madonna on Tuesday explained her decision to perform at the Eurovision Song Contest in Israel this week, saying that she will always speak up to defend human rights and hopes to see “a new path toward peace.”

Madonna will make a guest appearance on Saturday during the Eurovision finals in Tel Aviv. The venue has prompted calls for a boycott by pro-Palestinian activists who want companies, performers and governments to disengage from Israel.

The popular Eurovision competition features musicians from more than 40 nations and was watched last year by some 189 million viewers in around 50 European countries.

In her first comment on her decision to sing at the event, Madonna said she was a supporter of all human rights.

“I’ll never stop playing music to suit someone’s political agenda nor will I stop speaking out against violations of human rights wherever in the world they may be,” the singer said in a statement to Reuters.

“My heart breaks every time I hear about the innocent lives that are lost in this region and the violence that is so often perpetuated to suit the political goals of people who benefit from this ancient conflict. I hope and pray that we will soon break free from this terrible cycle of destruction and create a new path towards peace,” she added.

Israel is hosting the Eurovision contest after local singer Netta Barzilai won last year. The winning country customarily hosts the following year.

Madonna, 60, is expected to perform two songs in Tel Aviv, one from her upcoming “Madame X” album to be released in June. She had taken her world tours to Israel in 2009 and 2012, and is a follower of the mystical form of Judaism called Kabbalah.

The singer’s Ray of Light foundation, which promotes social justice and women’s empowerment worldwide, supports a number of Palestinian projects.

They include funding teachers’ salaries at schools in the Gaza Strip through the United Nations Palestinian Refugee Agency UNRWA and micro loans to female farmers through the Palestine Fair Trade Association. The foundation also supports Americans for Peace Now, which campaigns for a diplomatic solution to the Israeli-Palestinian conflict.

Israel has launched a PR campaign to counter calls for a boycott of the Eurovision contest by the international Boycott, Divestment, Sanctions (BDS) movement. Security has been tight in Tel Aviv amid fears that activists may seek to disrupt the competition.

(Reporting by Jill Serjeant; Editing by James Dalgleish and Leslie Adler)

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FILE PHOTO: FILE PHOTO: Actor Felicity Huffman, facing charges in a nationwide college admissions cheating scheme, leave federal court in Boston
FILE PHOTO: FILE PHOTO: Actor Felicity Huffman, facing charges in a nationwide college admissions cheating scheme, leaves federal court in Boston, Massachusetts, U.S., April 3, 2019. REUTERS/Brian Snyder/File Photo/File Photo

May 13, 2019

By Nate Raymond

BOSTON (Reuters) – Actress Felicity Huffman is due to plead guilty on Monday to paying to have someone cheat on her daughter’s behalf on a college entrance exam, part of a wide-ranging scandal in which wealthy parents used bribery and fraud to secure their children spots at prominent U.S. universities.

The onetime star of the television series “Desperate Housewives” is set to plead guilty in Boston federal court to a conspiracy charge for paying $15,000 to have someone secretly correct her daughter’s SAT college entrance exam answers.

She is among 50 people accused of taking part in a scheme that involved cheating or bribery. Wealthy parents paid $25 million to bribe coaches to help their children gain spots at universities like Yale, Georgetown and University of Southern California.

William “Rick” Singer, a California college admissions consultant, pleaded guilty in March to charges that he facilitated the cheating and helped bribe coaches to present their children as fake athletic recruits.

Twenty people so far have agreed to plead guilty since officials carried out a wave of arrests under the code name “Operation Varsity Blues” on March 12. Prosecutors have said the investigation is ongoing.

Huffman is scheduled to plead guilty alongside another parent charged in the case, California businessman Devin Sloane, who prosecutors said paid Singer $250,000 to help his oldest son gain admission to USC as a purported water polo recruit.

Prosecutors have charged 33 parents with participating in the scheme with Singer, including Huffman, who was nominated for an Oscar for best actress for her role in 2005’s “Transamerica,” and Lori Loughlin, who starred in the TV series “Full House.”

Prosecutors said Huffman, 56, made a $15,000 contribution to Singer’s foundation in exchange for having an associate of Singer’s in 2017 secretly correct her daughter’s answers on an SAT college entrance exam at a test center Singer controlled.

Huffman, who is married to the actor William H. Macy, said in an April statement her daughter “knew absolutely nothing about my actions, and in my misguided and profoundly wrong way, I have betrayed her.”

Prosecutors agreed to recommend a prison term at the “low end” of the four to 10 months Huffman faces under federal sentencing guidelines.

Loughlin has pleaded not guilty to charges that she and her husband agreed with Singer to pay $500,000 to have their two daughters named as recruits to USC’s crew team, even though they did not row.

(Reporting by Nate Raymond; Editing by Scott Malone and David Gregorio)

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Actress Doris Day is pictured at the aquarium in New York City
Actress Doris Day is pictured at the aquarium in New York City, U.S. in this July 1946 image. Courtesy William P. Gottlieb/Ira and Leonore S. Gershwin Fund Collection, Music Division, Library of Congress/Handout via REUTERS

May 13, 2019

By Bill Trott

(Reuters) – Actress Doris Day, who became one of the greatest box-office attractions of her time as the cheery, freckle-faced personification of wholesomeness, died on Monday at the age of 97, her foundation said on Monday.

Day, who co-starred with 1950s and ’60s superstars such as Rock Hudson and Cary Grant, died at her Carmel, California home after a bout with pneumonia, the Doris Day Animal Foundation said on its website.

Her shiny girl-next-door image was built on a series of innocent romantic comedies, including “Pillow Talk,” for which Day received an Oscar nomination, “That Touch of Mink” and “The Thrill of It All.”

Day also had hit records, most notably “Que Sera, Sera” from the movie “The Man Who Knew Too Much.” It became her theme song, even though she had initially been reluctant to record it.

Day’s life was not always as sunny as her movie roles. She married four times, was divorced three times and widowed once, suffered a nervous breakdown and had severe financial trouble after one husband squandered her money.

“My public image is unshakably that of America’s wholesome virgin, the girl next door, carefree and brimming with happiness,” she said in a memoir, “an image, I can assure you, more make-believe than any film part I ever played. But I am Miss Chastity Belt and that’s all there is to it.”

“She’s the girl every guy should marry,” a critic wrote in the Saturday Review. “Marilyn Monroe, Elizabeth Taylor, Kim Novak? They’d all be trouble. Doris Day would be true blue, understanding, direct, honest, and even a little sexy.”

She was born Doris von Kappelhoff on April 3, 1922, in Cincinnati and headed to California at age 14 to be a dancer. She abandoned that dream after her right leg was broken in an auto accident.

‘SENTIMENTAL JOURNEY’

She concentrated on singing and at 16 had a job with Les Brown, one of the top orchestra leaders of the day, and recorded her first hit, “Sentimental Journey,” with him. She changed her surname at the suggestion of a band leader who heard her sing “Day by Day.”

At 17, Day married Al Jorden, a trombone player who she later claimed beat her. Her only child, son Terry, was born in 1942, and the couple divorced the following year.

Day’s movie debut, “Romance on the High Seas” in 1948, was a hit, at least in part because of Day and the Oscar-nominated song she sang in it, “It’s Magic.”

A series of musicals followed with Day often playing a singer trying to break into the entertainment world: “My Dream Is Yours” in 1949, “It’s a Great Feeling” in 1949 and “Tea for Two” in 1950.

In 1953, she landed the title role of “Calamity Jane,” and success continued in 1955 as she teamed with Frank Sinatra for the musical “Young at Heart” and with James Cagney for the drama “Love Me or Leave Me.” She expanded her range again in Alfred Hitchcock’s remake of his own “The Man Who Knew Too Much,” which co-starred Jimmy Stewart.

Day returned to light comedy in 1957 with “The Pajama Game” and two years later first joined forces with Hudson for “Pillow Talk,” her most popular movie and the one that earned her an Oscar nomination.

She and Hudson made some of the most popular – and profitable – movies of the early 1960s, including “Lover Come Back,” “Move Over Darling” and “Send Me No Flowers.”

FINANCIAL TROUBLES

In 1951 Day married agent Martin Melcher and after his 1968 death, she found he had left her nearly penniless. She had a nervous breakdown in 1974 and then won $22 million in damages from Melcher’s attorney and other associates who had mismanaged her money.

New success came, however, with “The Doris Day Show” on television, which ran for four seasons. Day did not learn until after Melcher’s death that he had committed her to do the show and she was initially reluctant to do it.

In 1976, Day married restaurant owner Barry Comden but they also divorced.

After retiring from performing, Day worked mainly with the Doris Day Animal Foundation, helping abused animals. Her home in Carmel, California, was usually full of dogs and cats, mostly adopted strays.

She stayed away from entertainment circles for more than 20 years after accepting a lifetime achievement honor from Golden Globe organizers in 1989 but released a CD in 2011. Proceeds from the recording went to her animal foundation.

(Reporting by Bill Trott in Washington; additional reporting by Scott Malone in Boston; editing by Jonathan Oatis)

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Eurovision 2019 Orange Carpet in Tel Aviv, Israel
Contestants Tulia of Poland pose on the “Orange Carpet” during the opening ceremony of the 2019 Eurovision Song Contest in Tel Aviv, Israel May 12, 2019. REUTERS/Amir Cohen

May 12, 2019

TEL AVIV (Reuters) – Contestants from 41 countries walked an orange carpet in Tel Aviv’s “Culture Square” on Sunday for the opening ceremony of Eurovision 2019, brushing aside security concerns and calls for a pro-Palestinian boycott.

The 64th Eurovision Song Contest holds semi-finals in Tel Aviv, Israel’s entertainment and business capital, on Tuesday and Thursday ahead of the grand final on Saturday.

Instead of the traditional red carpet, an orange carpet, matching the logo of a company sponsoring the international song fest, was rolled out at the Tel Aviv square that houses Israel’s Habima national theater and the Israel Philharmonic.

“Everyone is excited in my team. I’m really happy to be here,” said Cypriot singer Tamta, the first artist to stroll the walkway flanked by visiting photographers and reporters.

The four members of Poland’s Tulia gave a quick sample of their folk singing style called “śpiewokrzyk” or “scream singing” to the crowd’s enjoyment.

Finish DJ Darude said artists behind the scenes of the festival were “slapping high-fives and having a good time.”

Concerns had been raised that the contest could be disrupted by a surge in cross-border violence between Israel and Palestinian militants in Gaza. But a ceasefire that went into effect a week ago has been holding.

When Israel was selected last year to host the 2019 Eurovision finals, the internationally televised event was identified by the Boycott, Divestment, Sanctions (BDS) campaign as a target for its campaign to pressure governments, companies, performers and academics to isolate Israel.

BDS has called on artists and broadcasters to withdraw, saying that holding it in Tel Aviv amounted to “artwashing – whitewashing through arts” Israel’s policies towards Palestinians in the occupied West Bank and Gaza.

No delegations have pulled out.

Israel has mounted a counter-campaign, rebutting BDS attacks and accusing some supporters of being anti-Semitic or having ties to militant groups such as Hamas and the Popular Front for the Liberation of Palestine, allegations BDS leaders reject.

An Israeli ad for Eurovision that used a misogynistic term and an anti-Semitic trope to send up stereotypes about Israel has raised hackles among some viewers.

The 4-1/2 minute song video, posted online by Israel’s public broadcaster Kan on Friday, underscored worries about low attendance at the competition given security concerns and calls for a boycott.

Two singers are shown greeting a wide-eyed couple arriving at Tel Aviv’s airport with: “I know just what you heard – that it’s a land of occupation. But we have so much more than that!”

In an apparent spoof of the common local mispronunciation of “beaches”, a male singer urges: “Come and enjoy our lovely bitches.” On Israel’s often unwieldy demographics, he adds, beaming: “Most of us are Jews but only some of us are greedy.”

Some Israelis were left fuming or confused.

Shahaf Weisbein, an Israeli activist with the left-wing Women for Peace group, denounced the video as a “disgrace” that “whitewash(es) the apartheid reality” of Palestinians.

“It also includes an ugly anti-Semitic trope of Jewish ‘greed’,” she said in a statement.

Kan spokeswoman Gili Shemtov defended the video, saying it included “self-deprecating humor”.

(Reporting by Dedi Hayoun and Dan Williams)

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Greek artist Axioti works on the billboard of the
Greek artist Virginia Axioti works on the billboard of the “Avengers: Endgame” movie in Athens, Greece, April 21, 2019. Picture taken April 21, 2019. REUTERS/Alkis Konstantinidis

May 12, 2019

By Rebecca Rubin

LOS ANGELES (Variety.com) – Disney and Marvel’s “Avengers: Endgame” remained victorious in North America, collecting $65 million during its third weekend in theaters.

“Avengers: Endgame” officially passed “Avengers: Infinity War” ($679 million) and “Black Panther” ($700 million) to become the third-highest grossing movie of all time at the domestic box office with $724 million in ticket sales. It’s still the second-biggest film ever globally with $2.48 billion, pacing behind just “Avatar” with $2.78 billion.

However, “Endgame’s” third straight box office success didn’t come without a little competition. Warner Bros. and Legendary’s “Detective Pikachu” certainly gave Earth’s Mightiest Heroes a run for their money. The studio’s live-action Pokemon adaptation pulled in a solid $58 million when it launched in 4,202 venues.

The impressive start for “Detective Pikachu” signals a rare win for video-game to big-screen adaptations. But as competition from summer blockbuster season heats up, it’ll need to rely on solid word of mouth to stick around in North American theaters. The studio is also expecting “Detective Pikachu” to resonate overseas, where the electric yellow creature is a fan favorite.

Audiences seem high on Ryan Reynolds’ snarky take on the eponymous sleuthing Pokemon, awarding the film with an A- CinemaScore. Critical reviews were mixed, averaging a 64% on Rotten Tomatoes. Directed by Rob Letterman, “Detective Pikachu” is based on the popular Pokemon series and the 2016 video game of the same name. Justice Smith stars alongside an adorable animated Pikachu (Reynolds) as the two team up to find out why the boy’s dad went missing.

Not all new releases were as fortunate. “Poms,” an uplifting comedy from STX and eOne, debuted with a paltry $5.1 million from 2,750 theaters. Diane Keaton stars in the film about a group of seniors who form a cheerleading squad. To nobody’s surprise, “Poms” opening weekend crowd was 75% female, while 85% were over the age of 25. Reviews were not kind. It carries a 29% on Rotten Tomatoes, as well as a B+ CinemaScore.

It’s been a rough month for STX as its animated adventure “Uglydolls” failed to pick up steam in its second weekend of release. The $45 million movie generated $4 million for a dreadful domestic haul of $14.28 million.

Terrible reviews didn’t hold back all of this weekend’s newcomers. Rebel Wilson and Anne Hathaway’s “The Hustle” launched on the higher end of expectations with $13.5 million from 3,007 screens. The comedy, a female-led remake of “Dirty Rotten Scoundrels” and “Bedtime Stories,” has a 16% on Rotten Tomatoes. Females accounted for 70% of moviegoers, with 69% under 35.

A number of holdovers rounded out box office charts. Sony and Screen Gems’ “The Intruder” secured the No. 4 spot with $6.6 million, bringing its North American bounty to $20.9 million. Lionsgate’s “Long Shot,” a romantic comedy with Seth Rogen and Charlize Theron, nabbed fifth place, adding $6.1 million this weekend for a domestic tally of $19.7 million.

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FILE PHOTO: Film producer Harvey Weinstein's lawyer Ronald Sullivan Jr. waits to speak to the media following a hearing at New York Supreme court in the Manhattan borough of New York City
FILE PHOTO: Film producer Harvey Weinstein’s lawyer Ronald Sullivan Jr. waits to speak to the media following a hearing at New York Supreme court in the Manhattan borough of New York City, New York, U.S., January 25, 2019. REUTERS/Carlo Allegri

May 12, 2019

By Alex Dobuzinskis

(Reuters) – A Harvard law professor who joined the legal team defending Hollywood mogul Harvey Weinstein against sexual assault charges will not be allowed to continue as dean of a residential house on campus, a university official said on Saturday.

The Ivy League university’s move to end the role of law professor Ronald Sullivan Jr and law school lecturer Stephanie Robinson, Sullivan’s wife, at Winthrop House follows protests over his representation of Weinstein.

Sullivan and Robinson in 2009 became the first African-American faculty deans in Harvard history when they took their positions at Winthrop House, one of several undergraduate residences at the Cambridge, Massachusetts, university.

Their terms as faculty deans were scheduled to end on June 30. Harvard College Dean Rakesh Khurana said in a statement that he had decided not to keep them in their roles at Winthrop House beyond that date.

“Over the last few weeks, students and staff have continued to communicate concerns about the climate in Winthrop House to the college,” Khurana said.

“The concerns expressed have been serious and numerous. The actions that have been taken to improve the climate have been ineffective, and the noticeable lack of faculty dean presence during critical moments has further deteriorated the climate in the house,” Khurana said.

Khurana has previously said Sullivan’s decision to join Weinstein’s legal team was a matter of academic freedom and that everyone is entitled to a vigorous legal defense.

Sullivan and Robinson continue to hold their positions at Harvard Law School.

Sullivan and Robinson said in a joint statement that they were “surprised and dismayed” by the decision.

“We believed the discussions we were having with high level university representatives were progressing in a positive manner, but Harvard unilaterally ended those talks,” they said.

In January, a judge approved Weinstein’s request to have Sullivan join his legal team.

Prosecutors in New York accuse Weinstein, 67, of forcibly performing oral sex on a woman in 2006 and raping another woman in 2013. Weinstein faces five criminal charges, including rape, and could be sentenced to life in prison if convicted.

He has pleaded not guilty to the charges.

More than 70 women have accused Weinstein of sexual misconduct. He has denied all accusations and said any contact was consensual.

Students at Winthrop House staged a sit-in this month to protest Sullivan’s defense of Weinstein, according to a report at the time in the Harvard Crimson student newspaper. Students denounced Sullivan in other actions earlier this year.

(Corrects spelling of Harvey Weinstein in first paragraph)

(Reporting by Alex Dobuzinskis in Los Angeles; Editing by Daniel Wallis and Marguerita Choy)

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Premiere of
George Clooney arrives with his wife Amal at the premiere of “Catch 22”, a limited series which he stars in and produced based on the book by author Joseph Heller, in Los Angeles, California, U.S., May 7, 2019. REUTERS/Monica Almeida

May 8, 2019

By Jane Ross

LOS ANGELES (Reuters) – Twenty years after he left medical drama “ER”, George Clooney returns to television this month with an adaptation of Joseph Heller’s “Catch-22”, a novel whose complexity the actor said made it ideal for a six-part series.

The Oscar winner, known for films like “Syriana”, “Gravity” and “The Monuments Men”, also served as executive producer and directed two episodes of the Hulu series set during World War Two about a member of a U.S. bomber squadron fighting the higher-ups in the military bureaucracy.

“I thought it was a fun way to tell this story. It’s hard to tell this story as complex as it is in a two-hour movie,” Clooney said at the series premiere in Los Angeles on Tuesday evening.

“It’s never been about the medium although television and streaming has gotten much more interesting and more fun, it was more about telling the story. It’s about telling good stories.”

Heller’s 1961 novel, previously adapted into a 1970 movie, follows U.S. bombardier Yossarian who is infuriated that the army keeps raising the number of missions he must fly to be released from duty.

Yossarian’s only way to avoid the missions is to declare insanity, but the only way to prove insanity is a willingness to embark on more of the highly dangerous bombing runs, thus creating the novel’s absurd ‘Catch-22.’

“The Sinner” actor Christopher Abbott stars as Yossarian while “The Wolf of Wall Street” actor Kyle Chandler plays his commander, Colonel Cathcart. Clooney portrays training commander Scheisskopf.

“It’s a heightened piece, it’s satirical, it’s dramatic, it’s harrowing, it’s very funny,” Abbott said.

“It kind of lives in a world on its own but I think the themes are kind of universal because they’re really just about the human condition.”

At the premiere, Clooney also talked about his friend and former actress Meghan Markle, who married Britain’s Prince Harry last year and gave birth to their first child on Monday.

Clooney, who attended the couple’s wedding last year, has previously criticized the media for harassing Meghan and said the arrival of their son would lead to increased media scrutiny.

“I think it’ll intensify it, of course. But it’s never about the media following you around because…if you’re a royal, that’s part of what you have to do,” he said

“It’s the other versions of it: going to interview people’s parents, that kind of stuff that it starts to step into a really dark place…It just, sort of, the press turned on them and…I think people should be a little kinder. She’s a young woman who just had a baby.”

(Reporting By Jane Ross; Editing by Angus MacSwan)

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Metropolitan Museum of Art Costume Institute Gala - Met Gala - Camp: Notes on Fashion - Arrivals - New York City, U.S.
Metropolitan Museum of Art Costume Institute Gala – Met Gala – Camp: Notes on Fashion – Arrivals – New York City, U.S. – May 6, 2019 – Lady Gaga. REUTERS/Mario Anzuoni

May 7, 2019

By Melissa Fares

NEW YORK (Reuters) – Pop superstar Lady Gaga made a grand entrance at New York’s annual Met Gala on Monday, wearing a voluminous bright pink dress that she shed on the red carpet to reveal three other outfits including a bra and underwear, her barely-there interpretation of the evening’s theme, “Camp: Notes on Fashion.”

The invitation-only event, famed for its A-list celebrities and haute couture gowns, is a benefit for New York’s Metropolitan Museum of Art and also marks the opening of the Costume Institute’s annual fashion exhibit.

Gaga shed her blazing pink Brandon Maxwell gown on the red carpet to reveal a strapless black gown by the designer. Next came a tight-fitting hot pink gown. Her final reveal before a makeup touch-up on the carpet was a black bra, panties and sky-high platform boots.

Anna Wintour, the American Vogue editor-in-chief who hosts fashion’s biggest night each year, was one of the first up the red carpet-turned-pink for the evening wearing a shimmering Chanel gown topped by a cape of pink feathers that was tipped in black, a nod to the night’s mascot, a flamingo.

Camp, a theme that embraces humor, exaggeration and liberal interpretation, was inspired by writer Susan Sontag’s 1964 essay “Notes on ‘Camp.’” Trends on the pink carpet included gold lame and sequins, feathers, neon, and huge sleeves, skirts and trains.

The night’s fashion also referenced camp icons including a glittery high-collared cape by designer Christian Siriano intended to pay tribute to the late Vegas showman Liberace. Singer Celine Dion wore a feathered headpiece and full-length fringe by Oscar de la Renta that was reminiscent of a Cher costume.

Kris Jenner, mother and manager of reality stars Kim and Khloe Kardashian, told reporters on the red carpet she was channeling singer David Bowie in a coat with wings made of tulle over a blue Tommy Hilfiger jumpsuit.

The museum exhibit sponsored by Gucci “explores the origins of the camp aesthetic, and how it has evolved from a place of marginality to become an important influence on mainstream culture,” according to the Costume Institute.

The frontman of British brand “One Direction” and gala co-host Harry Styles arrived on the red carpet wearing a black Gucci ensemble with mesh detail on the top and painted black fingernails.

Tennis star Serena Williams stayed true to her brand, pairing Nike sneakers with a custom neon yellow dress from Italian fashion house Versace.

Others with the sought-after invitation to dinner for 550 included NFL star quarterback Tom Brady and his supermodel wife Gisele Bundchen, singer and actress Jennifer Lopez and comedian Chris Rock, and the billionaire CEO of Amazon.com Jeff Bezos.

(Reporting by Melissa Fares in New York; writing by Anna Driver; editing by Leslie Adler)

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